THE 

CHILDRENS LIBRARY 

OF 

WORK AND PLAY 






^^^.v: 






'I 
1' ■ -'hM 







svt.cii.t»r» 


^^m«»^-^r 


It: 

ft 








NEEDLECRAFT 

EFFIE ARCHER ARCHER 



^ 



THE CHILDREN'S LIBRARY 
OF WORK AND PLAY 

Carpentry and Woodwork 
By Edwin W. Foster 

Electricity and Its Everyday Uses 
By John F. Woodhull, Ph.D. 

Gardening and Farming 

By Ellen Eddy Shaw 

Home Decoration 

By Charles Franklin Warner, Sc.D, 

Housekeeping 

By Elizabeth Hale Oilman 

Mechanics, Indoors and Out 
By Fred T. Hodgson 

Needlecraft 

By Effie Archer Archer 

Outdoor Sports, and Games 

By Claude H. Miller, Ph.B. 

Outdoor Work 

By Mary Rogers Miller 

Working in Metals 

By Charles Conrad SleffeL 




hotoijiraph by Mary G. Huntsman 



The Last Step is Making tlie Buttonholes 






ALL RIGHTS RESERVED, INCLUDING THAT Or TRANSLATION 
INTO FOREIGN LANGUAGES, INCLUDING THE SCANDINAVIAN 



COPYRIGHT, I911, BY DOUBLEDAY, PAGE & COMPANY 



CI.A292508 



V 






NEEDLECRAFT 



CONTENTS 

CHAPTER PAGE 

I. What You Should Have in Your Work Box — 

Sewing on Buttons — Basting — Darning . 3 

II. Back-stitching — Over-casting — Creasing a 
Hem and Hemming — Rolling a Hem — 
French Hemming — Sewing on Tapes and 
Hooks and Eyes 12 

III. Gathering — Sewing on Bands — A Practical 

Sewing Apron — Hemmed Patches — Gus- 
sets and Tucks 26 

IV. A Doll's Skirt — Sewing Case — Bindings — 

Doll's Bed Linen — Pin Case .... 41 

V. Making Buttonholes — Cutting from a Pat- 
tern — A Doll's Dress 58 

VI. A Lesson in Stencilling .... .74 

VII. What Can Be Done with One Skin — Cut 

Leather Bags, Belts, Book Covers, etc. . 83 

VIII. Tooled Leather and Tools Necessary . . 91 

IX. The Simplest Stitches in Embroidery — Chain- 
stitching, Outlining, Herring-boning, Cross- 
stitching, Soutache, Coronation Braiding . 98 

X. Smocking, — Feather-stitching — Lazy-daisy 

Stitch 112 

XL Couching — Shadow- work — Turkishes titch — 

How to Stamp Designs 121 



CONTENTS 

CHAPTER PAGE 

XII. Buttonholing and Wallachian Embroidery . 130 

XIII. Roman Cut- Work — Fancy Buttonholing for 

Borders — Bermuda Fagoting .... 138 

XIV. Satin-Stitch and Marking 147 

XV. Eyelets and French Knots — Bullion Stitch, 

and Other Fancy Stitches 160 

XVI. Long and Short — Kensington Embroidery — 

Ribbon Work for Simple Flowers . . .176 

XVII. Hardanger Embroidery for Squares, Pin 

Cushions, and Spreads 190 

XVIII. Applique on Linen and Other Materials — 

Hedebo Embroidery 198 

XIX. Hemstitching for Handkerchiefs and Collar 
and Cuff Sets — Simple Drawn Work 
Stitches . 207 

XX. Easy Lace Stitches — Fagoting, Single Mesh, 
Double Mesh, Spiders, Fan, Maltese Cross, 
Twisted and Buttonhole Bars, Picots for 
Simple Edge ........ 227 

XXI. Simple Baskets 242 

XXII. RaflSa Baskets and Napkin Rings . . . 250 

XXIII. Raffia Hats 262 

XXIV. Knotting for Dolls' Hammocks, Shopping Bags 

and Other Purposes 271 

XXV. Simple Bead Chains on Single Strings — A 
Homemade Loom — Woven Chains — Belts 
and Purses 278 



CONTENTS 

CHAPTER PAGE 

XXVI. Braiding and Weaving Four and Six Strands 

— Weaving on Looms 295 

XXVII. Simple Crocheting — Stitchery for Edges and 

Shawls 306 

XXVIII. Pattern Directions for Making Doll Caps 
and Capes, Jackets, and Child's Bedroom 
Slippers 320 

XXIX. Irish Crochet Lace . . . . . . .333 

XXX. Knitting, Plain and Purling — Wash Rags — 

Fancy Stitches for Shawls . . . .351 

XXXI. Doll's Cap, Hood, Leggings, and Jackets . 360 

XXXII. Embroidery Suggestions for Boarding School 

Girl 372 



ILLUSTRATIONS 

The Last Step is Making the Buttonholes . . Frontispiece u-^' 

FACING PAGE 

The Right Way to Darn 10- 

A Single Motif Being Used on a Stencilled Scarf . . 76 ^ 

Many a Happy Hour is Spent Embroidering . . . 164 ''' 

It is Jolly to Make a Raffia Work Bag 250 "^ 

Sewed Raffia Baskets Make Attractive Gifts . . . 258 "^ 

The Fascinating Task of Making Bead Chains . . . 284 v^ 

A Cushion Top Can be Woven on a Simple Hand Loom . 296^ 

Her First Knitted Shawl 356 ^ 



NEEDLECRAFT 



WHAT YOU ^SHOULD HAVE IN YOUR WORK BOX, 
SEWING ON BUTTONS, BASTING, DARNING 

YOU will find that you are happiest when 
doing things for those you love; and what 
greater help can you give than by learning 
to do things for yourself that now those who love 
you best do for you? The little everyday things 
that appear to be so simple, yet take so much of the 
mother's time should be the things first to learn. 
There are so many things that one could do if 
one only knew how, that it seems a shame to waste 
time. Dolly needs new clothes, mother always 
needs help with her sewing; and then, too, the nu- 
merous birthdays and Christmases follow so quickly 
one on top of another, that there is hardly a chance 
to save up for one before the next is here. Many 
a hard problem for the little mother will be solved 
in this book. 

It is lovely to have a little work-box fixed up with 
thread, needles, and scissors, all of your own, and if 
you ask mother, I am sure she will give some of 



\ 



4 NEEDLECRAFT 

her threads to help you start one. If you take a 
card and shape it Hke a Maltese cross you will have 
space for four colours of threads. You will need a 
card for the white alone because you will find you use 
so much more of it. You must have a little thimble 
and always use it or your finger will look cramped 
when working. Have you noticed how pretty 
ladies look when sewing? Well, you must do as 

they do, tap your needle 
with the thimble to send 
it through the material 
(Figure 1). 
Have you ever wondered 
Fig. 1. The way to use your and wondcrcd why it is that 
thimble buttons havc the horrid 

habit of dropping off just when you wanted to dress 
quickly or take Sally Ann walking? Well, I will 
whisper the reasons for this: the first is, that the 
thread might have been worn out from active service; 
or the thread used might have been weak; or lastly, 
which is probably the true cause, the button might 
have been sewn too close to the material and came off 
the first time it was used. Mother may not be around 
to help you when the accident happens, and would 
you not feel proud to sew it on for yourself? 

To sew a button on securely you should make a 




NEEDLECRAFT 5 

pin-hole where the button is to be placed. A four- 
hole white button is the easiest to work on. Thread 
a No. 7 needle with a length of No. 40 white sewing 
cotton, bring the ends together and make a knot. 
The right length thread is measured from the tip 
of the thimble finger to the elbow. When a thread 
is used double it should be twice the length of this. 
A neat knot is made by holding the threaded needle 
in the right hand and by taking the end or ends, 
as the case may be, between the thumb and first 
finger of the left hand. Keep the thread tightly 
stretched, wind it around the top of the first finger, 
then move the finger down the thumb, carrying the 
thread with it about half an inch. Now with the 
nail of the second finger bring the knot thus formed 
to the end of the thread. 

A large ungainly knot is a disfigurement to a 
piece of sewing. You are now ready to adjust the 
button; place the knot on the upper or right side so 
that it will be concealed; after adjusting the button 
put a pin across the top and sew securely through 
the holes, crossing the threads. Sew not less than 
three times through each hole. Remove the pin. 
Insert the needle from underneath, then bring it 
out between the button and cloth close to the 
centre of the button. Wind the thread tightly 




6 NEEDLECRAFT 

around the neck of the button three or four times. 
(The neck is the threads between the button and ma- 
terial.) Wrapping the threads around protects 

the stitches and allows 

room for the button-hole 

to lie under the button. 

Take the thread through 

to the wrong side and take 

gs. 2 and s ^^ three stitches, make a 

short stitch on the material and cut the thread 

close (Figures 2 and 3). 

When a three-hole button is used the stitches form 
a triangle on the top of the button. A shoe-button 
should be sewed with a No. 2 needle and coarse black 
thread. The stitches are taken through the shank of 
the button. Fasten off the thread after sewing on 
two buttons, for if they are all on one continuous 
string or thread and that breaks, all the buttons are 
apt to come off. If each button is securely fastened 
the thread may be passed, however, from one to the 
other. 

Now I know you want to do some real sewing; 
it must not be big or you will get very tired and think 
sewing is not as pleasant as you fancied. The 
simplest stitch in sewing is basting. This is used to 
hold materials together until you are ready to make 



NEEDLECRAFT 7 

firmer stitches. In the following illustration the 
even and uneven basting stitches are shown (Figures 
4 and 5). They must be straight. Even basting 



^=i 




Fig. 4. Even basting 

stitches should be taken about a quarter of an inch 
apart and in the running stitch which is fine basting 
about an eighth or a sixteenth of an inch. Pretty 




I 



Fig. 5. Uneven basting 

huck pillows can be made of even and uneven 
basting or running stitches. A leaf, star or a 
figure cut out and traced on a piece of muslin 



8 NEEDLECRAFT 

will make a nice design for running stitches 
(Figure 6). 

If you will examine diflferent kinds of materials 
before they are cut, you will note that the threads 
run in two directions. The threads running length- 



^- . ,.^ 

• » ' • 

I * 

I » 

I • 

» / 

' \ 

, I 

t 

X t 

\ •"-' ! 



iTfiifflraiiffliiimii 



miiiiimwdwiiiTOmm' 



Fig. 6. A simple design in running stitch 

wise must be the stronger, as they have more strain 
on them. They are called the warp. The warp 
is set up first before the weaving begins. The 
threads running crosswise are called the woof. It 
is the weaker thread and forms the edge or selvage. 
If you will take a card three inches square and 



NEEDLECRAFT 9 

prick a line of dots half an inch from the top and 
bottom edges and prick a line a quarter of an inch 
apart you will have a little loom. The dots must 
be directly under each other. A piece of col- 
oured worsted and a large-eyed crewel needle 
No. 2 will be required. Make a knot at the 
end of your thread and start from the upper right 
hand hole on the wrong side. Bring your thread 
up through the hole and down through the lower 
right-hand dot. The needle must now come up 
through the next hole at the bottom and the thread 
be again stretched across the card. 

When every hole has been filled and you have 
several rows of straight lines, fasten off the worsted 
in the back. Another shade of wool should be se- 
lected so that you can distinguish the warp from the 
woof. The thread you are now going to use is the 
woof; commence at the top and go straight across 
to the left line, up over and down under each thread 
and so on till the row is completed. In weaving the 
next row, pick up the threads of the warp that you 
went over last time. Alternate rows agree (Figure 
7). When finished, the little piece can be used as 
a doll's mat. 

To darn your stockings is almost as simple a 
matter as this weaving. Instead, however, of start- 



10 NEEDLECRAFT 

ing the thread of the warp on an even line, as on the 
card, start some higher than the others. The 




cnru" 



^::i^ 



Fig. 7. Weaving with worsted 

reason for this is that an even line will be apt to 
make an uncomfortable seam in your stocking. The 
V^^^ ««, «« ^ woof threads are always con- 

nected to the stocking. A 
darning ball should be used 
under the hole. In darning 
cashmere or woollen stockings 
it is best to allow the warp to 
be very slack as wool shrinks 
considerably in washing. Wool 
should be used for darning woollen stockings. 
Have you ever belonged to a sewing club.^ If 






\ 

Fig. 8A. The first step in 
darning 



NEEDLECRAFT 11 

not, try to start one and see how much fun there is 
in it. The club should meet either on Friday or 
Saturday afternoon, after the school work is finished. 




l'j:iXf]i;i:i 



Fig. 8B. The second and last step in darning 

Every girl should bring her stockings to darn and 
another piece of work, so that when the darning is 
over she will have something to work on. If there 
are more than four in the club it is a very hard 
thing to keep up. Three is the ideal number for it. 
It is better to have a small number — three, for in- 
stance. A large club is apt to be distracting, but 
three or four little girls, with the right helpful 
spirit, will find such meetings very instructive and 
entertaining. 



II 



BACK-STITCHING, OVER-CASTING, CREASING A HEM 
AND HEMMING, ROLLING A HEM, FRENCH HEM- 
MING, SEWING ON TAPES AND HOOKS AND EYES 

STITCHING is witching," the song book says, 
and it is true, for after we know that stitch 
there are a hundred and one things we can 
do. Some people call it back-stitching and we 
must try to remember that, so that we shall under- 
stand of what they are talking. Get mother to 
give you a piece of material to practise on that has 
a stripe in it. Now take your scissors (Figure 9) 




Fig. 9. The right way to hold your scissors 

and cut out two three-inch squares. Baste the two 
squares together a quarter of an inch from the edge. 
Hold the square over the first finger of the left 
hand ready for the back-stitching. Let the basting 
run up and down over your finger. Start from the 

12 



NEEDLECRAFT 13 

top and make a small stitch backward, on the right 
side of the material, instead of forward as you did 
in running (Figure 10). Pass the needle under 
until you have a stitch twice as long on the wrong 
side as that on the right. Take the next stitch 




Fig. 10. Back-stitching 

backward close to the end of the last one on the 
right. 

Remember that the stitch you take backward 
is only half as long as the one you take forward. 
Stitching always looks very different on the wrong 
side, but on the right side it ought to look like ma- 
chine stitching. This stitch might be called the lion 
stitch, because it is so strong. It is used to join two 
edges together, as for the seams in bean-bags or 
cushion covers. 

In places where there will not be much strain we 
use a quicker stitch, which is called the half-back 
stitch (Figure 11). This is very much like the stitch- 
ing of which I have been telling you. The wrong 
side will look about the same, but on the right side 



14 NEEDLECRAFT 

instead of the stitches touching there will be a 
space, then a stitch of equal length. 



Fig. 11. The half-back stitch 

The next stitch to learn is the combination- 
stitch, which is made up of both the running and the 
back-stitch (Figure 12). It is a stitch that is greatly 
used for sewing long seams, as on underwear. By 




Fig. 12. The combination running and back-stitch 

this stitch we can cover the distance in about half 
the time that back-stitching would take. 

Whenever you can avoid making a knot, do so, 
because it spoils the look of your work on the wrong 
side. You can start your work, if it is a seam, for 
example, by making two or three stitches on top of 
each other. Follow the thread of the warp or woof 



NEEDLECRAFT 15 

of the material as much as possible. After fastening 
your thread, make two fine running stitches forward 
and one back. Keep the stitches the same length. 




Fig. 13. Over-casting 

Over-casting is used on unfinished or cut edges 
to keep them from fraying (Figure 13) . The stitches 
all slant from right to left. Take the stitches one 
eighth of an inch deep and one quarter of an inch 
apart. 




M^ » l l iy »» ww w ww ^il 



Fig. 14. Over-handing 

Over-handing is fine over-casting and used to 
connect two finished edges together (Figure 14), 
as when sewing lace on ruffles, or joining selvages. 
What is the selvage.^ It is the edge of the warp. 



16 NEEDLECRAFT 

The next time mother goes shopping ask her to take 
you with her. When she tells the salesman she wants 
so many yards of goods, whether it is for kitchen 
towels or a dress for herself or for you, notice how 
the goods is measured. The salesman will measure 
along one of the finished sides of the goods. These 
finished edges are called selvages. 

Make the stitches in over-handing as small as 
possible, keeping the stitches even. Sew through 






^ ^ ^ ^ ^ "^ \\ '^ ^ '^ ^ -^ \^ ^ ^ ^ ^^ s^ '^ 



Fig. 15. The seam opened 

both pieces of the material. Hold your work be- 
tween your thumb and first finger. Here again it 
is not necessary to make a knot. Let a half-inch 
of the end of your thread lie on top of the material 
toward the left side; the over-handing stitches will 
cover this end. When the over-handing is finished 
run your thumb-nail along the stitches on the right 
side. If your stitches are too deep there will be a 
seam on the wrong side, whereas if the instructions 



m 



NEEDLECRAFT 17 

have been followed carefully the material will lie 
perfectly flat (Figure 15). 

Now we are ready to help mother hem the new 
kitchen towels. First see that the edge you are to 
hem is straight. If it is not, pull out a thread so as 
to mark a line to cut by. You must take a thread 
that runs the entire way across the end of the towel. 
Cut carefully along the space out of which the 
thread came. Get a piece of 
card that has two smooth or 
straight edges and make a ^. ,^ , 

^ ^ ^ Fig. 16. A notched card 

notch one-half inch from the 
corner (Figure 16). A half -inch hem is the one com- 
monly used on a towel. 

If mother likes to have her towels with a wider or 
narrower hem, notch the card the size she wishes. 
Turn the material back one-quarter inch and crease 
it down with your thumb-nail. A second fold is 
made the width of the hem. Take your measuring 
card and, placing the end of it on the double edge, 
see if your hem is exactly the width desired. Baste 
along the first folded edge to hold the material 
together for hemming (Figures 17 and 18). Hold 
the edge to be hemmed toward you. Do not knot 
your thread. Insert the needle at the extreme right 
of the hem. Pull the needle through, leaving a 



18 NEEDLECRAFT 

little end, as in over-handing, to be fastened down 
with the hemming itself. 




Fig. 17. The first step 




Fig. 18. The second step 

Your needle should slant as shown in the diagram 
(Figure 19). Take a stitch right through all the 
thicknesses of the material. Be sure that it goes 



NEEDLECRAFT 19 

through to the other side. The fewer the threads 
taken on the needle at the same time, the neater the 
result will be. The stitches should slant from right 
to left. The stitches must be close together if we 




• r/ff/fff? 



\ 



Fig. 19. The way the needle should slant 

want fine hemming. Let each stitch be the same 
size as the other and slant in the same direction. 
The right side of the hem looks like a row of short 
dashes. 

If your needle gets "sticky" when you are sewing, 
you should pass it through your emery-bag till it 
is shiny and sharp again. The needle is apt to get 
that way if your hands perspire. Ladies who like 
to keep their sewing looking fresh and white, as if 
hands had never touched it, find it a good plan to 
wash their hands in a little vinegar, or lemon and 
water. 

It is very necessary to sit so that the light falls 
over your left shoulder. A little straight-back 
chair is another good help in sewing. Do you know 



20 NEEDLECRAFT 

that many of our English great-grandmothers had 
very straight backs? When they were Kttle girls 
they had to sit on a very straight, tall chair, an hour 
or two every day. A foot-stool was placed under 
their feet, and their shoulders strapped against the 
chair. Of course they did not sit there idle, but a 
piece of fine sewing was given them to work. You 
see they did not have the opportunity to run around 
and play as you have. Their chief recreation was 
their dancing lesson. 

The towel finished, the next thing to learn is how 
to turn a corner and hem it. Shall we make a 

cover for Sally Ann's bed 
or a dust-cloth for mother.^ 
In either case cut a piece 
of material eighteen inches 
square and turn a hem and 
baste it as you did for the 
towel. The next side is 
folded the same as the first. 



Fig. 20. A corner basted ready The COmcr should form a 

for hemming perfect square (Figure 20). 

Sometimes the material is very thick and the hem 
wide; in that case it is wise to cut a little oblong 
piece out of the corner as shown in the illustra- 
tion (Figure 21). 



NEEDLECRAFT 21 

Napkins and table-covers should be sewed with 
a French hem. Make a turn about a sixteenth of 
an inch deep. The second 
turn should be about three 
sixteenths of an inch wide. 
Fold the hem back so that it 
touches the right side of the 
material. The hem is con- 
nected to the material with 
tiny over-hand stitches. Open 
the hem, when finished crease 
with the thumb-nail till it lies perfectly flat. 

A pretty new way of finishing a handkerchief is 



Fig. 21. The material cut 
from a corner 




Fig. 22. Whipping 

to roll the material for the edge instead of folding it. 
Over-cast or, as we sometimes say, whip it with 
delicate-coloured cotton, (Figure 22). The nicest 
material for handkerchiefs is fine linen, but lawn 



22 NEEDLECRAFT 

is cheaper for practice work. Hold the wrong side 
of the material to you. Then roll about one eighth 
of an inch between the thumb and first finger of your 
left hand. Do not roll more than an inch of the 
hem at a time. Take a needle and thread it with a 
piece of coloured cotton. In this case it is permis- 
sible to make a knot. Insert the needle at the begin- 
ning of the roll. Over-cast or whip the rolled edge. 
The stitches should encircle the roll and not go 
through it. When the rolled inch is over-casted, 
roll another inch and repeat in this manner till the 
whole handkerchief is worked. If you desire, when 
you have finished one side, you can whip in an 



"UVV ^^;^^;^ \J K) Si K^ yj Kj ^ ^vv V 



Fig. 23. A pretty finish for handkerchiefs 

opposite direction toward the point at which you 
started, thus forming a cross with each return stitch 
(Figure 23). 

Lace is sewed to raw edges by rolling and whipping 
the material and connecting the lace at the same 
time. 



NEEDLECRAFT 23 

Tapes should be on all towels and on all your skirts 
and dresses that are to hang on nails or pegs. Take 




t 



B 



Fig. 24. A rolled hem 

a piece of fine tape about five inches long. Crease 
one end down one quarter of an inch (Figure 25). 
If the tape-loop is to be sewed on a towel 
find the direct centre of the top edge 
of the towel. Lay the tape with the 
creased end open flat on the towel (Figure 
26). Sew along the creased 
line with back - stitching. 
Fold the other end of the 

I tape over, baste it down 
I so that it entirely covers 

the stitches already made 
and with small hemming 
stitches connect the tape to the material 
(Figure 27). There should be two 
tape-loops on your dress or separate 



Fig. 25. One 

end creased 

one quarter of 

an inch 



Fig. 26. The 

tape open flat 

on material 



24 NEEDLECRAFT 

skirt. There is usually too much weight for only 
one loop. Place a loop in each armhole of the waist 
or dress. For the skirt, measure the waist-band 
and place the loops so that the band 
is divided in thirds. 

Do you know that very few people 
sew on hooks and eyes properly.^ Yet 
there is no difficulty in sewing them 
correctly and they look much nicer. 
Take the eye, connect it to the mate- 
rial with two stitches that make a cross. 
With the same thread pass the needle 
to the left-hand loop. Insert the needle 
in the material so that 
the eye of the needle is within 
the loop and the point of the 
needle comes just outside. See 
that the thread passes from left 
to right under the point of the 
needle. Draw the needle 
through and repeat in this man- 
ner until the two loops of the 
eye are firmly connected to the material. Some- 
times it is necessary to cover the upper part of 
the eye. In that case cover the metal with fine 
over-and-over stitches as shown in (Figure 28B). 



1 — 


^ 



Fig. 27. The 
tape finished 




Fig. 28A. The eye firm- 
ly sewed 




NEEDLECRAFT 25 

The loop of the hook is sewed on in a very similar 
manner at the base, while the 
top of the hook is caught with 
eight or nine over-and-over- 
stitehes (Figure 29). These 
stitches are taken under the 
hook portion and connect the 
under side only. Measure ac- 
curately just where every eye ^'^- ^^^' ^ ^°^^^^^ ^^^ 
goes and place the hook so that when it meets the 
eye it will be straight. A sixteenth of an inch out 
fy\ of the way spoils the appearance 

5 1 and is apt to pull the material 

\ J crooked. Another point to re- 

member is that it is not a good 
plan to place the eyes on the 
extreme edge. A margin of some 
Fig. 29. The hook gjze is most ucccssary to extend 
beyond the eyes. Sometimes it is necessary to sew 
a piece of material so that it extends one inch be- 
yond the eyes if the eyes are sewed on the extreme 
edge of the finished garment. This piece is called 
the fly piece. 




Ill 

GATHERING, SEWING ON BANDS, A PRACTICAL 
SEWING APRON, HEMMED PATCHES, 
GUSSETS AND TUCKS 

THOUGH I know you don't like making 
samples, I am going to ask you to make 
a little apron for a doll, as a model, before 
we make a real big one. 

Get a piece of muslin five by nine inches and a 
No. 9 sewing needle. Thread it with a piece of 
No. 70 cotton. Baste an eighth of an inch hem on 
both of the five-inch sides, and a three-quarter of 
an inch hem on one of the nine-inch sides. 

The basting of the three sides being finished we 
will now start to gather the fourth side. Thread 
a No. 8 needle with No. 50 thread. Use a thread 
a trifle longer than nine inches. Make a good-sized 
knot in the thread so that the end cannot slip 
through the material. Start from the right-hand 
side of the piece and insert the needle on the under 
side. Let the knot come on top of the narrow hem 
about one quarter of an inch from the raw edge. 

26 



NEEDLECRAFT 27 

The needle is now in position on the right side of 
the material. Take up several stitches on the needle 
before pulling it through (Figure 30). The stitches 




Fig. 30. Gathering the apron 

are nothing more than running stitches. When the 
running has been worked across the nine inches of 
the material, take the needle out and make a knot 
in the thread. 

Put a pin, vertically, close to the last stitch. 
Take up only a few threads of the material on the 
pin. Draw up the running thread so that you have 
about three and a half inches of gathering. Wind 
the thread that extends beyond the gathering over 
the top and under the point of the pin a number of 
times, crossing the thread at the middle of the pin 
so that it forms an eight (Figure 31). 

To allow the gathering to fall evenly, it will be 
necessary to stroke it. Use a No. 2 needle for this 
purpose. With the right side of the work toward 



28 NEEDLECRAFT 

you begin at the left-hand edge. Hold the work 
between the left thumb and forefinger, keeping the 
thumb below the gathering thread. Put the point 
of the No. 2 needle under the gathering thread. 




Fig. 31. Gathers ready for stroking 

holding it obliquely. Press the needle toward the 
thumb, bringing the little plait under the thumb 
and drawing the needle downward. Pinch the little 
plait down lightly with your thumb. Continue in 
this way, putting the needle under each stitch 
(Figure 32). 

Let us now put a band and strings on our apron. 
Cut two strips of material ten inches long by two 
inches wide. These are for the strings. Baste an 
eighth of an inch hem on the two long sides of each 
strip. Make a three-quarter of an inch hem on 
each string. 



NEEDLECRAFT 29 

Over-hand the ends of the broad hem. All the 
hems that are basted on the strings and the material 
itself should be hemmed with fine stitches. 




Fig. 32. Gathering Strokes 

Cut another strip two and a half inches wide 
by five inches long. This is the band. Turn down 
one eighth of an inch of the material all around the 
band. Crease the band in half, lengthwise, so that 
the edges, just folded, are inside. 

Find the centre of the gathered material and the 
centre of the opened band. Holding the wrong 
side of the apron toward you, pin the middle of 
the apron to the middle of the band. Pin the 
gathered side of the apron to the band, three quarters 
of an inch from each end of it. 

Wind the gathering thread around the left-hand 
pin, drawing the thread up to fit the band. With 
the point of the needle adjust the gathers so that the 
fullness is evenly distributed along the band. Hold- 



30 NEEDLECRAFT 

ing the gathers toward you, baste with small stitches 
a little above the gathering thread. 

Turn up the band and on the right side of the 
apron hem the band in it, catching up a gather with 
each stitch. Some people prefer to stitch along the 
basting line instead of hemming (Figure 33). 




Fig. 33. Taking up a gather with every stitch 

Baste the other side of the band down, and hem 
as on the right side. Insert the strings in the band. 
Hem in the same way as on the band, first the right 
side and then the left side, and now your little apron 
is completed (Figure 34). 

Would you not like to have a sewing apron that 



NEEDLECRAFT 31 

you can use as a bag when you are not wearing it? 
It is such an easy thing to make that after you have 
one for yourself you will be making them for your 
friends for Christmas. 




Fig. 34. The apron completed 

Get mother to measure you from the waist to 
the knees. The material for the apron should be 
one and a half this measurement. Turn one third 
of the material back. Baste the double edges 
together and sew with fine combination stitches. 

Turn this piece inside out. Crease back one eighth 
of an inch edge of this pocket, as it were. Baste 
a piece of beading over this raw edge right around 
the back of the apron. Be careful not to sew up 
the pocket. 

The beading on the back must be the same dis- 
tance from the bottom as the beading in front; 
that is, we must keep a straight line. Sew on the 
extreme edges of the beading with fine running 
stitches, to connect it to the material. Now as 



32 NEEDLECRAFT 

the ribbon we are to run in the beading must serve 
as a draw string, as well as for decoration, it will 
be necessary to put two pieces in. So get a narrow 
ribbon about one half the width of the openings in 
the beading. Each piece of ribbon must be long 
enough to go once around the apron and enough 
of the ends left to tie double bows — one for each 
side. Start one piece of the ribbon at the right- 
hand side of the apron and the other at the left. 

The top of the apron or single piece is finished with 
a piece of beading which is sewed on, as on the 
pocket. A ribbon long enough to go around your 
waist and to tie a bow in the back is run through the 
beading (Figure 35). 




B595SQE5SB5EBBHn 





Fig. 35. The apron 



When the apron is not being worn your work can 
be placed in the large pocket and the single section 



NEEDLECRAFT 33 

folded within the pocket. The ribbons are then 
drawn up tight and "bravo!" you have a work bag 
fit for a queen (Figure 36). 




Fig. 36. The work bag 

There are so many kinds of rents or holes that 
may happen to your clothes that it is worth the 
while to know how to mend the various kinds. 
There is an old adage that says, ** Waste makes 
want," and we would spend a small fortune in clothes 
if every time a wee hole made its appearance we 
discarded the garment. 

If it is a circular hole in a dress or underbody, 
as often happens, under the arms, we will use the 
square patch. Cut a piece of the same kind of 



34 



NEEDLECRAFT 



i 




material, three inches square, or larger if necessary. 

Turn a fold of one eighth of an inch on the four 

edges of this square. Crease it lengthwise and 

crosswise. 

Crease the material on which the patch is to be 

laid lengthwise and 
crosswise through the 
tear. Pin the small piece 
or patch on the wrong 
side of the large piece, 
or garment, so that the 
creases run in the same 
direction. The warp 
must run the same way 
in both pieces. One 
sixteenth of an inch 

from the edges run a basting thread. Hem the four 

sides on the patch to the material (Figure 37). 
On the garment side make 

a crease half an inch wide, 

from the hemming, on the 

four sides. Four little squares 

will be formed in the corners. 

Crease along the diagonal of 

each square. Place a pin 

one eighth of an inch from J^S ?L patcF " '''^ '"'" 



Fig. 37. The patch hemmed to 
the material 




r 



Fig. 39. The garment side of the patch 



NEEDLECRAFT 35 

each corner, within the patch (Figure 38). Cut 

the garment from the centre of the tear to the 

pins. Repeat this ^ 

on each side, cut- 
ting along the crease 

which you made, 

one half inch from 

the hemming. 
Turn in one 

eighth of an inch 

and baste. Hem 

all around (Figure 

39). 
In patching material such as checked or striped 

ginghams, percales, or other materials, the stripes or 

the checks must 
match so that the 
patch is not too ap- 
parent (Figure 40). 

Have you ever 
noticed how the slit 
or placket of a pet- 
ticoat or side open- 
ing of drawers is 
finished? A piece of 
material is put in 



/. 



^ M < t«W t « »^ y,f^r ,» » t > i 



/ 



^ 



Fig. 40. Matching the stripes 



36 NEEDLECRAFT 

of an odd shape to strengthen the openings. This 
is called a gusset. Suppose that you were making 
a petticoat. Join the skirt up the back from the 
bottom, but leave eight inches open at the top. 
This top opening is the placket. But let us take 
a small piece of material and practise making the 
back of a skirt. We will put a hem and a few tucks 
at the bottom of the material first. 






Fig. 41. Basting the tuck 

Make a measuring card of a straight strip with 
an eighth, three eighths, and three quarters of an 
inch notches. 

Crease and fold a wide hem (three quarters of 
an inch), using the measuring card as a guide. 

Over-hand each end of the hem. Now baste 
along the hem. The over-handing must be done 
before the basting. Now hem this wide hem. 

Again, using the cardboard measure, on the right 
side of the model fold a crease three quarters of an 



NEEDLECRAFT 37 

inch above the hem. Begin at the right-hand side 
to crease and baste (Figure 41). 

With a fine, even,running stitch, an eighth of an 
inch below the crease, make the tuck (Figure 42). 
Measure every few stitches to keep the seam straight. 




Fig. 42. Making the tuck 

If a second tuck is desired, measure from the 
tuck instead of the hem. 

Now we are ready for the slit which is in the centre 
top. On the wrong side start at the top with an 
eighth of an inch 
hem, but decrease it 
to almost nothing 
right to the bottom 
(Figure 43). Fold the 
other side in the 
same manner. In 
hemming the two 
sides, start at the top. 

Now let us prac- 
tise making gussets pig. 43. The placket hemmed 




38 

on a piece of 
inches square. 




Fig. 44. The triangle 



NEEDLECRAFT 

paper. Cut a piece of paper three 
Fold it from corner to corner and 
cut (Figure 44). 
Turn the straight or 
short edges of the 
paper one eighth of 
an inch and fold 
along the two shorter 
edges (Figure 45). 



Hold the paper with the straight edge down, 
measure it from the two points one quarter of an 
inch. Now cut a piece of material the size of the 
paper and fold like model. 

Cut oflE the two points one quarter inch from each 
corner on the thread of the 
goods (Figure 46). Turn 
these two straight ends and 
the bias edge of paper one 

eighth of an inch (Figure Fig. 45. The short edges folded 

47). Turn point of paper 
down one eighth of an inch 
from bias hem and crease 
(Figure 48). 

Now cut the muslin gus- 
set and fold just like the 

paper one. Fig. 46. with points cut off 





NEEDLECRAFT 



39 



Hold the model or skirt with right side toward 
you, and turn up point of gusset. Holding the 




Fig. 47. All sides are now 
creased. 



Fig. 48. The point folded over 



wrong side of the skirt toward you, twist left side 
of gusset to left side of placket and over-hand to 
creased line, half way up the gusset (Figure 49). 




Fig. 49. The gusset over-handed half way 

Over-hand right side. Turn bias edge of gusset 

over to right side, pin, having straight edges parallel 

to warp and woof threads and then hem (Figure 50). 

Gather the top of the skirt and put on a band 



40 NEEDLECRAFT 

on each side of opening about the same width as 
the one used on the apron (Figure 51). 




Fig. 50. Gusset hemmed 




Fig. 51. The gusset model completed 



IV 



A DOLL'S SKIRT AND SEWING CASE, BINDINGS, 
DOLL'S BED LINEN AND A PIN CASE 

Eus suppose that Sally Ann measures twelve 
inches from the crown of her head 
to the soles of her feet and that you would 
like to make her a gored skirt like mother's. Would 
you not feel happier if you made the pattern and 
then cut the skirt yourself ? 

Take a piece of paper twelve by nine inches 
wide, mark every inch on both the long sides of 
the paper. Lay a ruler so that it touches the 
centre of the space between the first and second 
dots on the upper edge, and between the second 
and third dots on the lower edge. This will 
form the half of the front gore of the skirt. 
Mark it, "half of front." 

Now draw a line from the second dot on the 
upper edge to the centre of the space between the 
fourth and fifth dots of the lower edge. Connect 
the sixth dot on the upper and lower edges, mark this 
section "side gore." Connect the eleventh dot on 

41 



42 NEEDLECRAFT 

lower and upper edges and mark this section "back.'' 
The remaining inch mark "belt." (Figure 52), 




SI a U 5 6 7 8 9 10 II IS 
Fig. 52. The pattern drawn 

Cut the pattern apart along the lines drawn. 

Take a piece of muslin twenty -four by nine inches. 
Tear off two inches of the muslin on the length for 
the band and then ten inches for the back of the 
skirt. 

Fold the remaining piece of muslin with the two 
short edges together so that the doubled piece 
measures six inches by nine. Place t^e straight edge 
of front of skirt pattern on the fold of the material and 
the edge of the side gore on the other edge. Pin 
the pattern down securely and cut through both 
thicknesses of the material (Figure 53). 

Pin the skirt together, placing a straight edge of 



NEEDLECRAFT 43 

a gore to a bias. Baste a quarter-inch seam along 
the finished edges of each gore, holding the bias 
edge toward you. Sew the seams up with combina- 
tion stitches. Press open the seams and over-cast 
each one to keep it from fraying. 

Fold a hem at the bottom of the skirt an inch 
and a quarter wide. Baste the hem so that seam 




Fig. 53. The back, side gore and front 

comes to seam. On the front gore there will be a 
fullness. Gather this fullness in with fine running 
stitches and baste. Use a separate thread for the 
gathering. Now hem around the whole skirt. 

Cut the placket two inches down through the 
centre back. Turn a hem on the right side one 
half inch wide and on the left one eighth inch. 
Sew the hem. 

Lap the wide hem over the narrow at the bottom 



44 NEEDLECRAFT 

of the placket and stitch across the wide hem two 
rows of stitching one eighth of an inch apart. 

Turn in the strip you cut off at first for the band 



Fig. 54. The skirt 

one quarter of an inch on the two short sides and 
on one of the long sides. 

Fold lengthwise, find centre of band and crease; 
one inch from this, crease again. 

Place and pin band in the same way as for the 
gusset described in the last chapter, placing the 



NEEDLECRAFT 45 

middle crease at the middle of front of skirt. Then 
pin the band also at the creases on either side of 
centre. Gather each side of the skirt that is left. 
Draw in the thread to fit belt. Spread the gathers 
so that most of the fullness is in the back. 

Over-hand the ends and hem second side of the 
placket. This finishes the skirt (Figure 54). 

A basket or box of some sort is very nice to have, 
as we have said above, for your sewing, but suppose 
you were going to sew with another friend and you 
wanted a handy case in which to carry your sewing 
implements? A cloth case that can be folded or 
rolled is very much more convenient and may be 
carried in the large pocket of your apron. One 
made of denim is inexpensive, wears well, and is 
highly practicable. One yard will make you a case. 

Cut a piece of green denim sixteen by fifteen inches 
long. Turn up four inches of the material, baste 
down both sides. Baste a four-inch pocket on the 
left-hand corner of your case. The rest of the 
case divide in two. This will hold your darning 
cotton that comes on cards. 

We have a pretty way of finishing this case, which 
is not only ornamental but strong, and that is to 
bind it. Get a piece of tape long enough to go 
around the whole case. Crease it lengthwise so 



46 NEEDLECRAFT 

that one edge comes slightly below the other. Open 
it and lay it on denim and then neatly back-stitch 
the right side and hem the wrong. The hemming 
should be just below the back-stitching, and must 
not be seen on the right side. Allow enough tape at 
the corners to make a good angle. Both sides of the 
corner must be treated alike. 

It will be well to have a needle case to match the 




Fig. 55. The material caught from side to side 

sewing case. Cut a strip of material thirteen inches 
long by three and a half inches wide. Cut this 
strip in four parts. Get a piece of cardboard that is 
not too thick or of such kind that will break easily, 
as some of the cheaper grades of brown cardboard 
are apt to do. Cut four pieces, three inches wide by 
three and a half inches long. Thread your needle 
with a piece of No. 40 cotton and put a big knot at 
the end. Take one of the pieces of denim and a 



NEEDLECRAFT 47 

piece of the cardboard. Catch the material from side 
to side with stitches about one quarter of an inch 
apart (Figure 55). After sewing these two sides sew 
the third and fourth in the same manner. Cover 
each piece of the cardboard in this way (Figure 56), 



Vj_u_ 




J]^H-mx[ 



Fig. 56. The four sides of material caught together 

Take two of the covered pieces and over-cast them 
carefully together. 

You should have leaves of flannel to stick your 
needles in. Pink the edges of the flannel. Pinking 
is snipping out the edge in little points and can be 
done with scissors. Connect the two pieces of the 
needle case with two tiny bows, or a heavy thread 
can be made to answer the purpose. The flannel 
sheets are tacked through the centre like the pages 
in a book (Figure. 57). 



48 NEEDLECRAFT 

The third or middle compartment between the 
spool ease and darning thread can be used for a 
miscellaneous pocket to hold the tape-measure, 
emery-bag, small scissors and other necessary 
articles. 



Fig. 57. The flannel sheets tacked through the centre 

A piece of tape stretched down on the denim with 
just enough spring for the package of needles to 
pass through is a handy way to carry them (Figure58). 

It is rather dangerous to travel with a pair of 
scissors with the points unprotected. In Canada 



NEEDLECRAFT 49 

and the states that border it the Indians sell the 
little sweet grass protectors. A cork, however, 
that comes in small bottles such as you get from drug 
stores will protect the points of the scissors as well 
as the sweet grass protectors, if not as elegantly. 



V'>f>>->' ■> >■>■> JJ>*)} ftf. 



^ 



Oa 



azBozszazi 



a^ 



.^ 



Fig. 58. The place for the needles 

If the scissors are too large to put in the pocket a 
piece of tape could be stitched down to slip them in 
lengthwise. The case should be folded in three parts 
when it is not in use and a piece of tape the same 
colour as the binding tied around it, (Figure 59). 

Now that you have your sewing apron and a work 
box, you will love to be sewing every chance you get. 
Suppose we plan a set of bed things for Sally Ann. 



50 



NEEDLECRAFT 




First let us make a mattress. The mattress on your 
bed is covered, probably, with ticking, but this is too 

harsh for your fingers to 
sew, so let us select per- 
cale or zephyr, and half- 
inch tape for the binding; 
the filling can be cotton, 

Fig. 59. The case folded j^^j^.^ ^^ feathers. If it is 

impossible to get any of these three, newspapers 
chipped up very fine will make an excellent pad- 
ding. Many people use newspaper chippings to fill 
pillows for summer use. 

Measure the bedstead and cut two pieces of per- 
cale or zephyr exactly the same size. Now cut a 
stripe of the material, one inch wide, long enough to 
go around the four sides of one of the pieces of 
the material that you have just cut. 




Fig. 60. The narrow strip to the large strip 



NEEDLECRAFT 51 

Baste the long narrow strip around one large piece. 
Lay the wrong side of the strip to the wrong side of 
the material (Figure 60). The edges must be 
even. Use the combination stitch of one running 
stitch and one back-stitch just below the basting. 
When the strip has been securely sewed to the four 
sides of the material, join the two ends together on 
the wrong side. 

Now take your tape, 
which may be white or 
the colour of the figure 
in your material, and 
bind the edges by first 
running one side down 
and then the other 
(Figure 61). 

The other piece of 

material is sewed in ^^S- 61. Binding the mattress 

the same manner — the wrong side of the strip to the 
wrong side of the material. Do not sew, however, 
around the entire four sides but leave about six inches 
open through which the filling may be passed. After 
basting the strip with combination stitching fill 
with cotton or whatever material you have on hand. 
Do not fill the mattress so that it will be bumpy. 
Put a little stick in and flatten the filling at the top. 




52 NEEDLECRAFT 

Now sew the opening up and we are ready to quilt 
the mattress. 

Thread a large needle with two pieces of heavy cot- 
ton floss or wool. Push 
your needle through to 
the other side, letting a 
short end extend above 
the mattress. Bring your 
needle back again close to 
where it came out (Fig- 
ure 62). Unthread 
the needle and tie the 
ends tightly. Cut oflf 
what is left and repeat 
again two and a half 
inches over. It is best to quilt in rows; that is, to 
start two inches in from the long side and make a 
row parallel with the tape. The next row is made 
two and a half inches farther over and the next row 
of knots should come in between the first row of dots. 
This mattress is made just like yours and the pillow 
is the next article we will make. The pillow should 
be half the width of your mattress, as we will use two 
on the bed. Take a piece of material twice the 
length desired for the pillow. Use the same kind of 
material as that used for the mattress. Fold the piece 




Fig. 62. Quilting 




Fig. 63. Thepillow- 



NEEDLECRAFT 53 

in two with the wrong side out. Join the two long 
edges and one of the short sides with the 

combination stitch (Figure 63). 

Make the stitches one quarter inch 
from the edge. Now turn the case 
inside out and fill with cotton. 
Turn in the edges of the open end 
and over-cast them together (Fig- 
ure 64). As I have said before, 
it will be necessary to make two 
pillows. 

The pillowcases can be made of 
lawn, cambric or 
muslin. Cut the material a little 
larger both in length and width 
than the pieces used for the pillow. 
The seams of the pillowcases will 
have to be felled. Along the one 
short side and the long side make 
fine running stitches, one quarter 
of an inch from the edge. Cut the 
raw edge from one side so that the 
other is about an eighth of an inch 
wider. Now fold the wider edge 
over like a hem so that it completely covers the 
cut edge and hem neatly to the material. The open 




Fig. 64. Overcasting 
the open end 



iy ^t* * 4 ***** * ** **'*>'f* i 



54 NEEDLECRAFT 

end has a wide hem of say three quarters of an inch. 
When the hem is finished turn the case with the 

work inside. 

For the sheets cut two pieces 
of musHn or lawn large enough 
to cover the mattress and to 
turn under. The selvage edge 
of the material should run the 
length of the sheet. Turn in 
a quarter-inch hem on the two 
long sides of each sheet and 
hem. Now turn a one-inch 
hem at the top and bottom of 
each sheet. This completes 
the sheet (Figure Q5), 
A blanket is of course very necessary to have and it 
can be made of a piece of an old blanket or of canton 
flannel, cashmere^ or plain flannel. If a piece of 
blanket is used, finish the edges with the blanket 
stitch which is described in Chapter twelve of the 
book. 

The flannel, cashmere, or canton flannel is finished 
by turning the edges over a quarter of an inch and 
herring boning or cat-stitching them to the mate- 
rial (Figure 66). For cat-stitching see diagram in 
Chapter nine. 



Fig. 65. The sheet 



^ ;. ' <i«.N^^'S/W'WWS/>^ 



NEEDLECRAFT ' 55 

No bed is complete without a counterpane of 
some sort and this can be made as fancy as you desire. 
A pretty one is made of strips of 
insertion joined together by fine 
over-casting or fagotting. Fag- 
gotting is explained in Chapter 
twenty. A row of edging will have 
to be sewed like a ruffle around 
the two long and one short sides 
to complete the counterpane. 

If a very fancy counterpane is 
desired get a piece of checked 
gingham of some light colour. 



^^vwA\^\ H' t<vww i ^ >< 



Fig. 66. The blanket 

The check should 
be a quarter of an inch square. With your needle 
threaded with white or a shade deeper than the 




Fig. 67. The crow's foot and spider on checked gingham 



56 NEEDLECRAFT 

darkest check make spiders on the dark squares 
and crow's feet on the light. Directions for making 
a spider are given in the chapter on ''Lace Stitches." 
A crow's foot is made by taking one stitch on the 
diagonal of the square and two on each side of it, 
the stitches on each side of the first one being a trifle 
shorter than the previous ones (Figure 67). A coun- 




Fig. 68. The envelope opened 

terpane Hke this is very attractive and does not 
require a great deal of time to make. 

A dainty little pin case that will make an accept- 
able little gift for a friend that is going to travel is 
the envelope pin case. Take a piece of material 
such as linen, cretonne, or silk and another piece of 



NEEDLECRAFT 57 

different coloured material for lining and shape one 
end as shown like the flap of an envelope (Figure 68) . 
A good size is nine inches long by four inches wide. 

Cut a piece of stiff paper a half inch smaller than 
the pieces of material. Baste the material which 
will be outside over the paper so that the edges are 
folded back one quarter on the paper. Turn a 
similar fold on the lining and hem it to the material 
as shown on the flap of the envelope opened. 

Now take two papers of pins and place them in 




Fig. 69. The envelope case closed 

the case so that they look like leaves of a book. Be 
careful to see that the heads of the pins are on top. 
Now catch the pins to the case with several long 
stitches which are taken below the points of the 
pins. Stitch a ribbon to flap of envelope and one 
at the bottom. Close the case and tie the ribbons 
and you have a handy pin case (Figure 69). 



MAKING BUTTONHOLES, CUTTING FROM A PATTERN, 
A DOLL DRESS 

TO MAKE a good buttonhole is an accom- 
plishment that any girl can be proud of, 
as it is the hardest thing in sewing. 
The thread should be almost double in length to 
that you usually take, as a joining is very clumsy 
in a buttonhole. 

A buttonhole is a worked opening in a piece of 
material or garment through which a button is to be 
slipped. The friction caused by buttoning and unbut- 
toning necessitates 
that the worked 
edges should be firmly 
and well sewed. 

Before we make a 
real buttonhole, let 
us see how the stitch 
is worked. Draw a 
Fig. 70. The first step in buttonholing Hneoneiuchin length 

with the straight of the material. Take two stitches 

58 




NEEDLECRAFT 59 

one inch long over this line. At the extreme right 
of the stitches insert your needle, threaded with 
No. 40 cotton. Take a stitch about a sixteenth of 
an inch below the line. While the needle is still 
in the material — you are working from left to 
right ' — (Figure 70), carry the thread under its 
point from the left, to the right side of the needle. 
The enlarged cut showing this stitch is very plain. 
The needle is then drawn through the material 
toward the chest and then straight from it. The 
next stitch and every other stitch must be identical 
with the first, the difference being that each stitch 
is then a little farther to the left. Every stitch 
must be the same length. 

Now let us prepare to make the stitch on a fold. 
Fold a band in three equal parts. Pass the needle 
between the folds and bring it out on the edge. 
Hold the end of the thread with the left thumb. 
Carry the needle to the back of the fold and insert 
the point through the fifth thread of the material 
from the edge. The double thread at the edge of 
the needle is brought around the point of the needle 
from left to right and drawn out. (Figure 71). 

A tailor's buttonhole is made slightly different. 
The needle is placed in the same position as in the 
ordinary buttonhole. The thread is brought from 



60 NEEDLECRAFT 

the top of the stitch and the doubled thread is 
brought around under the point of the needle from 
right to left (Figure 7^). 




Fig. 71. The position of the needle in buttonholing 




Fig. 72. A tailor's buttonhole 

The corners of the buttonhole are worked in two 
ways, either barred or rounded. The round corners 
are worked in the same buttonhole stitch, only it 




NEEDLECRAFT 61 

is twice the depth of the buttonhoHng along the 
two edges. Five or seven stitches will be sufficient 
for a corner or the ridge of the buttonholing will 
be too crowded. 

The bar or braced end of the buttonhole is a 
little more difficult. It is necessary to bar a button- 
hole for heavy woollen materials such as men's coats, 
or your own cloak, or outer wraps (Figure 72). 
Generally the first end of the buttonhole is rounded 
and the last end barred 
(Figure 73). 

Work around the button- 
hole end when the last stitch 

Fig. 73. The buttonhole with 
has been made, turn the ma- one end rounded and the 

other barred 

terial so that the work lies 

across your forefinger. Pass the needle over the 

extreme left of the stitch, (Figure 74). Work four 

stitches the same length as those of the two 
sides of the buttonhole, and then insert 
the needle through the ridge of the first 

Fig. 74. Barring buttouholc stitch. The rfdgc of the 
bar faces the buttonhole. This bar 

should be just the width of the buttonhole. Nine 

stitches are usually sufficient for it. 

Tailors run two or three strands at the base of 

the buttonhole before working the nine stitches. 



62 NEEDLECRAFT 

The stitches are not taken through the material but 
only over the threads. 

A buttonhole is fastened oflF on the wrong side 
at the base of the stitch. 

The most important step is to cut the buttonhole 
straight. The buttonhole should be a trifle longer 
than the button. It should be cut in the opposite 
direction to which the strain will be. For instance 
on the back of the waist the buttonholes should 
run crosswise, for the movement of the shoulders 
spreads the buttonhole lengthwise. On the bands 
around the waist buttonholes are made lengthwise. 

A sharp pair of scissors or a penknife should be 
used for cutting the holes. Insert the point of the 
scissors or knife through the centre of the button- 
hole. Cut one side, then the other, along a thread 
of the material. 

The thread is fastened securely on the wrong side 
of the left-hand corner. Use No. 40 sewing cotton 
for buttonholes, unless on very fine material, when 
No. 60 should be used. Sometimes it is well to 
over-cast the raw edges before working the button- 
hole. A thread should always start at the extreme 
lower left-hand corner. 

The backs of yokes should be fastened with loops 
and fine buttons. To make a loop, span the thread 



NEEDLECRAFT 63 

across the edge of the material in a loop large enough 
to slip the button through. Let the last stitch be 
on the right-hand side. Now place the threaded 
needle under the strands of thread letting the thread 
fall under the point of the needle. Repeat in this 
manner till the strands are entirely covered. The 
ridge or purled edge of this stitch will be on the out- 
side of the loop. 

Hooks are sometimes caught into loops, but they 




Fig. 75. Loops made of threads 

are made directly on the material instead of sewed on 
the edge. The strands of thread, however, are not 
as loose as the buttonloops. The diagram (Figure 
75) of the two loops will convey a clear idea of 
how the threads are spanned and covered. 

The last step in sewing is cutting from a given 
pattern. An old garment that fits well, ripped 
apart makes an excellent pattern and requires very 
little fitting. Press the pieces before using them as 
a pattern. Lay the material so that the selvage 
runs lengthwise, that is, from head to foot. Only 




Fig. 76. The centre 
front on fold 



64 NEEDLECRAFT 

one half of the garment is necessary for a pattern, 
as the material is doubled or folded lengthwise 
(Figure 76). The centre front of 
the skirt or waist is always placed 
on the fold of the material and 
either basted or pinned down be- 
fore cutting. 

Collars, cuffs, bands, and sleeves 
are cut with the selvage running 
their length. Cut any part of a 
garment such as sleeves, waist, or 
skirt through two thicknesses of 
material so that both sides will be 
exactly alike. This does not refer to the front gore 
of a skirt. When the material has a right and wrong 
side the right sides should face each other before 
cutting the pattern. 

Handkerchiefs or frills should be cut along a 
thread so that the edges may be perfectly straight. 

Be sure that the material lies perfectly flat under 
the pattern. Pin the centre first to keep it from 
slipping before pinning the edges. Pin the entire 
garment before cutting anything, so that you can 
be sure that your material will be sufficient. This 
also gives you an opportunity to see where to put 
the smaller pieces and economize with the material. 



NEEDLECRAFT 65 

A large pair of scissors should be used in cutting. 
The blunt -pointed blade is next to the board or table. 
It is well to practise on paper and plan the pattern 
before using the pattern on the cloth. 

Bias bands should be cut on the bias of the mate- 
rial. Cut a square piece of material and fold it cat- 
a-corner. Cut along the fold and you will get a 
true bias. 

Bands to finish the necks of undergarments or 
around armholes should be cut on the bias. In 
fact, any curved edge that has to be faced should 
be faced with a bias instead of a straight band. 

Now suppose we make a real dress for Sally Ann 
that will be put together and finished just like one 
of your own dresses. The style we will select will 
be on the order of a French dress, that is, a long waist 
and short skirt. The pattern for the waist is in 
seven parts: they are the front, side front, back, 
side back, sleeve, collar, and cuff. The skirt is only 
one piece. 

Three quarters of a yard of material will be suffi- 
cient to make a dress for a doll from eighteen to 
twenty inches in height. 

In all patterns that are bought only one half is 
given; sometimes all the .seams — which are a very 
important part of a dress — are given and sometimes 



66 NEEDLECRAFT 

they are omitted. Any pattern that is pubhshed 
by a reliable firm tells on the envelope whether you 
should allow for the seams or not. 

The pattern is usually of tissue paper and each 
piece has perforations or holes of different shapes. 
One shape means this side must be placed on the 
fold of the material, another shape or perforation 
the same shape only grouped differently, means that 
the pattern should be placed on a straight thread of 
the material. Still another means "gather here." 
If there are tucks in the pattern they are usually 
indicated. Where the seams join each other, little 
notches are made and corresponding notches are 
placed together and pinned after the pattern 
is cut. 

Let us suppose the material is forty-five inches 
wide. Place the centre of the skirt on the fold of 
the material and pin in place. Your pattern should 
be planned and pinned on a flat surface such as a 
sewing table. Place the pins through the tissue 
pattern and both thicknesses of the material, letting 
the head and the point of the pin be visible to the eye. 
Do not cut any piece of your pattern until you have 
planned and pinned every piece, as that is the only 
way you can economize on your material (Figure 
77). Often a pattern cut before each piece is 



NEEDLECRAFT 67 

planned comes to grief if an over-supply 
of material has not been provided. 

The centre front is also placed on the 
fold of the material as well as the centre, 
back and collar. The sleeves are now 
fitted in, so that the perforations rest 
on the straight thread of the material. 

The side front and 
back and cuffs are 
also pinned to the 
material. The 
pattern now pin- 
ned, take a large 
pair of cutting 
scissors and hold- 
ing the blunt part 
toward the table, 
cut close to the 
tissue pattern, or 
if no seams are 
allowed, the width 
stated in direc- 
tions should be 
allowed for the 
seams. 

The waist pattern pinned 

to the material Let US make the 




68 

sleeve first, 
right side 




Fig. 78. Notches of 
sleeve put together 



NEEDLECRAFT 

Take one sleeve and holding with the 
join notches together (Figure 78). 
Baste the sleeves up on the seams 
one eighth of an inch from the edge. 
When the basting is finished make a 
row of fine running stitches. Turn the 
sleeves on the wrong side and baste 
them before working the combina- 
tion stitches. The sleeves are now 
ready to be banded. The band is 
taken and sewed on the short side. The seaming 
is taken on the wrong side of the material. A little 
seam is taken on each of the long sides of the cuflF. 
Fold the cuff in half. The turns or folds are opened 
out and now turn the cuff inside out. Run a gath- 
ering thread at the lower edge of the main part of 
the sleeves starting the thread one half inch from 
each side of the seam. Place the cuff around the 
sleeve so that cuff seam rests on the seam of the 
sleeve. Pin into position. It will probably be nec- 
essary to pull or adjust the gathering thread so that 
the lower part of the sleeve be just the size of the 
cuff. Baste the band on after it has been pinned sat- 
isfactorily before working the combination stitch. 

Turn the sleeve inside out and fold the cuff in 
the creases. Hem the inner side of the cuff to the 




NEEDLECRAFT 69 

wrong side of the sleeve. On the upper side of the 

sleeves run another gathering thread about one 

inch and a half from the 

seam (Figure 79). We have 

now finished with the sleeve 

until the waist proper is 

ready. 

Now take the centre back 
and side back and baste them 
together. Join the pieces so 
that the notches correspond. 
Work the combination stitch 
three eighths of an inch from 
the edge. The side fronts 
are joined to the backs under the arm and on the 
shoulders. The front is then sewed to the right 
side of the waist only. It will be necessary to face 
the centre front piece and the left side front. Take 
a bias strip of material not more than three quarters 
of an inch wide and fold an eighth of an inch on each 
side of this strip. Join the shoulder seams together, 
one side of the back to the right side of the front and 
the other side to back. Sew with combination 
stitches, then make a felled seam as explained for 
the sleeve. Baste the turned fold to the right-hand 
side of the waist by opening out creased side and 



Fig. 79. 



Gathering the top of 
the sleeve 



70 



NEEDLECRAFT 



placing the two right sides together and stitching 
one eighth of an inch from the edge. Turn the 
bias over to the wrong side of the waist and slip 
stitch. Slip stitching, as I have explained before, 
is somewhat like hemming; only the stitches are 
taken back of the folded edge and catch one thread 
only of the material. 

The other bias band is basted in like manner to 
the left-hand side of the waist. 

The sleeves are ready to be put in. Measure one 

and one quarter inches from 
the under arm seam on the 
waist, which is the short 
seam near the front of the 
waist. Pin the seam of the 
sleeve to this point. Pin 
the rest of the sleeve so 
that the gathers are evenly 
distributed. Pin the right 
side of the sleeve to the 
right side of the waist. Baste securely. Remem- 
ber that the gathers should be thickest on the 
upper part of the sleeve (Figure 80). Stitch 
with fine back-stitching and then overcast. The 
neck may be bound or may have the collar attached. 
Turn and hem the outer edge of the collar; a 




Fig. 80. The gathers on the 
upper part of the sleeve 



NEEDLECRAFT 71 

ruffle of lace may be added if desired. Baste the 
collar to the waist, and try the waist on Sally Ann. 
If it is a satisfactory fit, stitch in place. It is well 
to cover the raw edges with a little bias fold. Hem 
the fold down on both sides. 

The long strip is not joined, but a half -inch hem 
folded on one side and then stitched. The skirt 
is plaited or kilted, as it is often called. A hem is 
made on each of the short sides of the strips. Now 
crease the material as if you were going to make a 
tuck three quarters of an inch deep. A box plait 
will next have to be planned; again crease your 
material as if you were going to make a tuck three 
quarters of an inch deep. These creases must be 
exactly three quarters of an inch from the double 
fold of each piece. Measure an inch and a half, 
then turn the material under so that a three-quarter 
inch piece is under the left side of the waist line. 
This completes the box plait. 

The plaits from there on are folded toward the 
left, while the first two were toward the right. Baste 
each plait down securely. When working on cotton 
materials that have a lot of dressing, the creases are 
likely to stay in without basting, but while working 
on it the edges are apt to get turned up. Basting 
(Figure 81) is therefore the surer and safer way 



72 NEEDLECRAFT 

to keep the plaits in position, while for woollen or 

soft, sleazy materials it is the only way. 

When every plait has been basted lengthwise, 
take another thread and baste them crosswise three 
or four times. 




Fig. 81. Section of plaited skirt showing how it should be basted crosswise 

Join the waist to the skirt, taking care that the 
centre of the box-plait is under the direct centre 
of the front of the waist. 

A sash will be needed to finish this dress. It can 
be tacked in place or little straps of ribbon may be 
stitched at intervals and the ribbon run through 
the straps (Figure No. 8lA). 

If this dress had been stitched on the machine 
it would have been better to make tailored seams 
on the waist; that is, a narrow seam is taken on the 
wrong side. The material is then turned back so 



NEEDLECRAFT 73 

that on one side of the seam it sHghtly overlaps 
the other. Baste in place and stitch on the edge. 
Tailored seams do not require any extra allowance 
of material. They should slant toward the right 
on the right side of the gar- 
ment and toward the left on 
the left side. If the seams 
were stitched to run in one 
direction the garment would 
have a very one-sided ap- 
pearance. 

Press all the wrinkles caused 
by handling the dress in 

sewing. It is best to lay a 

damp cloth over the material 

rather than place the iron 

directly on the material. 

You will need a small iron for 

this dress. Press each plait 

down carefully. Take out 

the basting threads before trying on the dress. 
There are good, bad and indifferent dressmakers, 

and I know you wish to be one of the former. Sew 

a row of buttons on the left front of the dress and 

make little buttonholes to correspond on the right 

side. 




Fig. 81A. Sally Ann's new 
dress 



VI 

A LESSON IN STENCILLING 

WHAT is stencilling? Let us see. Stencilling 
is a branch of painting. Have you heard 
the story of the Baltimore belle in the time 
of the Revolution who was most anxious to go to 
the first big ball that was to be given after the war.^ 
The town had been divested of all the beautiful silks 
and satins that the great ladies were accustomed 
to wear. Our country had stopped importing these 
costly materials because there was no occasion to 
use them and no money to pay for them. 

An invitation had been sent to one of Baltimore's 
fairest daughters who was intending to go with her 
cousin. What were they to wear? Both needed 
the festive garments. At last, after a careful 
canvass of the town, the young man managed to 
borrow a pair of satin breeches and a flowered coat 
and all the other articles necessary to make a fine 
dandy of those days, except the silk stockings. 

The girl succeeded in finding a piece of white lawn 
of the coarsest kind that was sufiicient to make a 

74 



NEEDLECRAFT 75 

frock. In no way discouraged this clever young 
lady, who luckily could paint beautifully, started 
and painted little sprays of rose buds on the fifteen 
or twenty yards required for the gown. This made 
a very dainty and pretty frock. 




Fig. 82. StencUled curtains 

Poor George, her cousin, was in despair in not 
being able to borrow or buy a pair of silk stockings, 
but clever Miss Betty hit on the plan of painting 
his legs with a thick coat of white and then decorat- 
ing them with clocks on each side, so that no one 
at the dance even suspected that he didn't have on 
silk stockings. 



76 NEEDLECRAFT 

Miss Betty's dress was voted to be the most 
charming dress of the evening. 

Ever since I have heard this story I have wished 
that Miss Betty had known how to stencil. What a 
lot of time she would have saved! I am sure you 
will agree with me when you know how to stencil. 

Have you noticed the flat gay decorations above 
the moulding in some houses.^ Well those are 
stencilled. A painter will cut out a design from a 
thin steel background; he lays this on the wall and 
paints over the open spaces in the design. It is 
the only true way in which he can keep his pattern. 
All free-h,and designs are bound to show a difference 
in outline. 

Stencilling for home decoration is used on curtains 
(Figure 82), portieres, rugs, couch covers, table 
covers, lunch sets, pillow tops, (Figure 83), bags, 
counterpanes, as well as for dresses, parasols, wraps, 
scarfs, and in fact almost every conceivable object 
that allows the use of decoration. 

You can get a stencil board from any artist supply 
shop, but the one you can make at home is cheaper 
even if it is not quite as durable. 

In many of the schools, stencilling in its simplest 
form is taught in the kindergarten. The children are 
taught to fold a heavy piece of drawing paper 




Photograph by Mary G. Huntsman 

A Single Motif Being Used On a Stencilled Scarf 



NEEDLECRAFT 77 

lengthwise and draw half a design so that the centre 
of it is on the fold of the paper. The design is then 
cut away, leaving the background intact. This 




Fig. 83. A simple stencilled pillow 

method is good for very simple motives. Sometimes 
when we do not wish our design to be so set, we will 
draw it without creasing the paper. 

The stencil board that you can buy is very hard 
for little fingers to cut, besides being expensive. 

To make a stencil pattern, draw a design such as 
a bunch of violets . Let every petal be separated 
from the other and where the stems should intersect 



78 NEEDLECRAFT 

leave a little space between. These little spaces 
or bridges are what keep the background together. 
Of course, as a usual thing, if you buy a stencil outfit, 
one pattern or more already cut comes with it. 
In many of the large shops stencil patterns can be 
bought separately, but if one has any idea of drawing 
it is an easy matter to make a pattern. 



^ 







Fig. 84. The cut stencil 



The design can be traced and cut on a piece of 
heavy manilla paper : a coat or two of shellac makes 
the paper stifler and somewhat waterproof. The 
advantage of using drawing paper is this, that it 
may be cut with a pair of scissors, while a stencil 
board requires a sharp penknife and lots of finger 



NEEDLECRAFT 79 

strength to cut the pattern. White shellac is the 
best to use, as it dries quickly. It can be bought 
from any paint store. 

The pattern now cut (Figure 84), you are 
ready to do a piece of real stencilling. Let us 
choose the cheapest thing we can get for our first 
attempt. A piece of cheese cloth for a sash-curtain 
appeals to me. Put in the hem so that the stencil 
will be sure to be straight. Lay a large piece of 
blotting paper over the board or table on which you 
are going to work. Place the cheese cloth on top of 
that. Try your stencil pattern and measure how 
many times you can repeat it. It is better to plan 
a pattern with a small space between each motif 
so that you will not have half or part of the design 
left over. Stick a pin where the centre of each 
motif should be. 

Lay the stencil pattern in position and thumb- 
tack it down to the cheese cloth and blotting paper. 
Turpentine and oil are the most satisfactory for 
stencilling, though there are several patent mixtures 
sold that are good. The paint can be mixed with 
the turpentine till it is the consistency of a thick 
cream or the brush can be dipped into the turpentine 
and then into the paint. In either case the brush 
must be wiped quite dry, as the process is more of 



80 NEEDLECRAFT 

a rubbing in one than painting. Bristle brushes of 
four different sizes should be in your stencil outfit. 
They come round and flat, (Figure 85). The 
frontispiece shows a child stencilHng with the round 
brush. 




Fig. 85. The brushes 

Dip the brush into the mixture and be sure you 
wipe it off on a soft rag before painting in the design. 
If the brush is too wet the result is a blurred stencil. 

Use a different brush for every colour. When the 
first motif is stencilled, move the pattern and place it 
over the next pin. If you want to reverse the pattern, 
clean it thoroughly with naptha on both sides and 
let it dry for a couple of minutes before using again. 

To make a stencilled piece washable it has to 
be steamed like printed dress goods. This can be 
accomplished in two ways: that is, by holding it 
over a steaming kettle, or by laying a wet cloth over 
the stencilling and pressing with a hot iron. 



NEEDLECRAFT 81 

Needless to say, a piece stencilled in water colours 
should not be treated like this. 




Fig. 86. A stencilled bag 

Water colours or crayons can be used when a piece 
is not desired to be washed. The latter works in 
as smoothly as paints. 

Scrim, cheese cloth, linen, crash, burlap, monk's 
cloth, and Arras cloth can be used for curtains or 
portieres. The cost of them varies from seven 
cents to one dollar a yard. 

Sometimes a small motif is taken and stencilled 
all over the material. This gives the effect of a 
printed pattern. 

Five tubes of paint will produce almost any shade 



82 NEEDLECRAFT 

under the sun. They should be blue, yellow, red, 
black, and white. Blue and yellow make green; 
blue and red, purple; lavender, yellow and red make 
orange. A little black will soften the colours while 
white lightens the shade. Other combinations can 
be made by mixing three colours together. Enough 
of the paint should be mixed at one time to stencil 
the entire piece, as it it is extremely difficult to mix 
a new batch of colour that will be the exact shade 
as the first. Ultramarine blue is the shade of the 
deep sea. Crimson lake is a bright red. Venetian 
red is a terra cotta. Emerald green is a blue green. 
Sap green is yellow green. Ivory or lamp black are 
the two blacks to be had in oil paints; the former 
is shiny while the latter is dull. Flake white is 
the term for white in oil paints. 

Of course, you can buy ready mixed in tubes 
almost any shade you desire, but it is lots more fun 
to make your own colour combinations, as well as 
very much cheaper. Diamond dyes can be used 
for stencilHng by letting one package of dye serve 
for one pint. The dyes will have to be boiled in 
the manner stated in their directions. 

You will find that stencilHng is the most delight- 
ful of the home crafts. Those who are not fond of 
needlework will find this a real wholesome pleasure. 



VII 

WHAT CAN BE DONE WITH ONE SKIN; CUT LEATHER 
BAGS, BELTS, BOOK COVERS. ETC. 

THERE is nothing so handsome for a Hbrary 
table or cushion in a room of dark rich 
colouring as leather work. These articles 
are very expensive to buy and are sold in arts and 
crafts shops or women's exchanges and some of the 
department stores. You have doubtless seen the 
dyed whole skin used on a library table, but have you 
ever seen leather applique.? That is the design cut 
out of a leather background and lined, or pieces of 
leather applied to a background. 

Different kinds of leather may be used for this 
work. The cheapest and thinnest kind is sheepskin. 
Leather is usually sold by the square foot and one 
has to buy the entire skin. Sheepskin costs about 
sixteen cents a square foot; some stores charge more 
for it, while it is possible at a wholesale and retail 
shop to get it for less. The skins come dyed in all 
shades. Golden brown, dull gray or moss green 
are the most artistic for general use. Many tailors 

83 



84 NEEDLECRAFT 

like to trim ladies' suits with leather and for this 
purpose many beautiful odd shades are dyed. Goat- 
skin ranks next to sheepskin and is a trifle dearer. 
Chamois is good for belts or dainty opera bags. 
It comes in white or cream only. Calf is a beauti- 
ful substantial skin, as is also Russia calf. Pebble 
calf is what its name implies, very rough with a 
glazed finish. The other side presents an un- 
dyed appearance. 



Fig. 87. A well-planned skin 

If you get a skin you should not expect to get a 
sofa cushion as well as a large table mat out of it. 
A skin carefully cut will give you one large piece 



NEEDLECRAFT 85 

and the rest of it can be planned for smaller objects, 
such as card cases, pen wipers, blotter corners, belts, 
picture frames, possibly a magazine cover or a bag. 
The diagram of the skin shows how carefully to cut 
out and plan every part of it (Figure 87). 

Let us take the sofa cushion first. A bold conven- 
tional design can be used in each corner. One that 
has each part separate like a stencil design is one that 
I have in mind. 

Cut each part out carefully so as not to impair 
the background. A cheaper grade of leather of a 
tone deeper or lighter can be laid under the design, 
though velvet is also in excellent taste for this work. 
Broadcloth, satin, and sometimes taffeta are also 
used. If a shaded effect is wanted a different 
coloured background can be pasted under each differ- 
ent section of the design. It is a better plan, how- 
ever, for the amateur to restrict herself to one 
colour for the background as the finishing of differ- 
ent pieces is no easy problem (Figure 88). Library 
paste is the best means of making the leather 
and background adhere, also it does not spot as 
mucilage does. The majority of leather workers 
consider that the pasting completes the piece, while 
others feel that it is necessary to machine stitch 
along the extreme edge of the cutting. Yet again 



86 NEEDLECHAFT 

others prefer to work embroidery stitches such as 
open buttonhole or couching stitches. Both of 
these are explained at length in later chapters. 
A pen wiper can be made from a piece cut in circular, 
diamond, or triangular shapes. Cut two pieces of 
chamois leather the same shape. A plain piece of 
the leather also is needed to back the pen wiper. 
The chamois pieces serve as leaves on which the pen 
is wiped. 




Fig. 88. Leather applique bag 

A card punch will be needed to make a hole through 
the four pieces for the ribbon or cord which holds 
them together. 

It is most necessary to plan the design so that it 



NEEDLECRAFT 87 

will be appropriate to the object it is to be applied to. 
The leather should also harmonize with the colour 
of the room or gown with which it is used or 
worn. 

For those who are anxious to learn how to design, 
books on this subject can be obtained from the 
public libraries. You should bear in mind, however, 
that practice makes all things perfect. 

The different methods of applying the design had 
better be gone into before we proceed any further. 
Thick manilla paper or artist linen may be used on 
which to draw the design. The pattern is then 
thumb-tacked or pinned on a flat wooden surface, 
on the upper edge only, as it will be necessary to 
raise the paper off and on during the tracing. 

An orange stick such as used for manicuring or 
hard pencil will be needed for the tracing. Trace 
along the pencilled design with a very heavy pressure 
so that there will be an indented line on the leather. 
A line once impressed is almost impossible to remove, 
so great care must be taken to keep the design true. 

Every time you stop tracing there will be a deeper 
indentation; for that reason in tracing a curved line 
try to draw a full sweep without stopping. A ruler 
will be an aid in tracing straight lines. 

It may be found necessary to dampen the leather 



88 NEEDLECRAFT 

so that the tracing will be distinct. In that case 
dampen the entire piece of leather with a wet cloth. 
Dampening in sections only causes water rings. 
Once the whole leather is dampened, however, it 
can be redampened in sections without fear of 
marking. 

Designs for leather may also be applied by 
means of a perforated pattern and a stamping powder 
or paste or a transfer pattern may be also used. 

The leather for cut-work may be cut with sharp 
scissors and manicuring scissors for round or curved 




^^j!^^^^ 



Fig. 89. A belt of leather of applique underlaid 

places or two sharp knives of different sizes. A 
board of soft wood is the best on which to work. 

The best kind of paste is one that has been 
recommended by a successful leather teacher and 
proves satisfactory to all who have tried it. "Bring 
to a slow boil a half-pound of flour in two quarts of 
water. Add to this mixture when cool, an ounce 
of nitric acid and a dram of boric acid and a few 
drops of clove oil." The nitric and boric acid, as 
well as the clove oil, can be obtained from the drug 
store. 



NEEDLECRAFT 89 

If knives are used to cut out the design, thumb- 
tack the leather before commencing. 

The paste is apphed lightly on the wrong side of 
the leather, then the lining placed over it. Lay the 
article with the right side up and put it under weights 
until it dries. Any surplus paste that may happen 
to ooze through can readily be scraped off. 

A wide range of articles can be made from leather 
applique, whether underlaid or overlaid, such as 
table covers, bags, belts (Figure 89), medicine 
cases, card cases, mirror frames, book or magazine 
covers, portfolios, memorandum pads, waste baskets, 
pocket books, bill folders, chair covers, besides numer- 
ous other articles. 

Sometimes it w^ill be necessary to have two trac- 
ings of the design, one on the leather and one on 
the other background. Leather is often applied 
to heavy crashes for portieres, or pillow tops. A 
bold conventionalized poppy is an excellent design 
for portieres. 

Paper is often used to line centerpieces or mats. 

Rough tinted cartridge paper can be treated the 
same as cut leather and the daintiest of candle or 
lamp shades can be made of them. The design is 
cut out as in leather and a thin China silk lines the 
whole. Each section of the design may then be 



90 NEEDLECRAFT 

coloured the right shade of the silk . For instance, 
a design of cherries can be painted with orange and 
red for the cherries and the leaves green, while the 
paper is of tobacco brown; a narrow gold braid 
finishes the shade at the top and bottom, while the 
shade is held together with four tiny gold rivets. 



VIII 

TOOLED LEATHER AND TOOLS NECESSARY 

TOOLED leather is one of the oldest and most 
beautiful of crafts. Instead of weakening 
the leather it simply makes it more beauti- 
ful. A handsome box is made of soft wood or card- 
board and covered with tooled or embossed leather 
and is a possession that a queen might envy. 

Boxes containing tools for leather work can be had 
for from five to twenty-two dollars for the outfit. 
Twelve tools are in the box. Two modelling tools, 
a steel hammer, two embossing tools, a punch, an 
embossing ball tool, one cutting or trimming knife, 
and four chasing and pearling knives (Figure 
90). Now I know that there are not many of 
you who would care to buy an outfit for five dollars, 
but for home use there is a simple little article that 
can be substituted and yet you can obtain very 
satisfactory results. A steel nut pick will work 
wonders and then, when you feel that you can do 
very much better work with other tools, invest in 
a case of them. 

91 



92 NEEDLECRAFT 

All leathers are not satisfactory for tooling. The 
best and most used is Russia calf in a heavy quality. 
One skin is usually the least a dealer will sell. 

Let us suppose we are working on a card case. 
The design is traced in the manner described in the 




Fig. 90. A case of tools 

last chapter, that is, by tracing over the dampened 
leather. 

After the design has been traced remove the paper 
and holding the nut pick firmly in your right hand 
as you would a pencil, proceed to deepen the lines. 
The leather must be kept moist or the tool is apt 
to scratch and break the outer skin. It is a work 
over which you may become fatigued, but you can 



NEEDLECRAFT 93 

just lay it aside till the next day and then proceed 
again. The deeper the tooled line the handsomer the 
piece. It will take several hours to tool a card case. 
Another form of decorating leather is with the 
little geometrical die that was used so much in 
past winters for decorating the background of 
etched copper articles (Figure 91). The little die 
is placed on the leather with its raised or embossed 
side downward and 

one knock from a ^^ ^^ •^•^ 

steel hammer is ^ 

sufficient to make ^Jg- ^l. The dies for backgrounds 

an imprint on the leather. The entire back- 
ground is filled out in this manner. Hammer 
with an even pressure otherwise the background 
will be bumpy. 

Sometimes you may prefer to have your back- 
ground pressed or modelled and the design to stand 
out in relief. In that case take the bowl or thick 
part of the nut pick or modeller and press the back- 
ground in flat. If the leather wrinkles when rubbing 
it change the direction of working. When the work 
is completed it will be noticed that the modelled 
part of the leather is darker and quite shiny. 

Designs such as cherries, cat-tails, and most floral 
forms give a greater opportunity for elaborate 



94 NEEDLECRAFT 

working. They can be carried out in relief. This 
relief is a much more difficult work. In the first 
place the design is drawn on the finished surface of 
the leather and then, after another sponging with 
water, hold the leather up from the table. Holding 
the section to be modelled between the first finger 
and thumb, work the tool backward and forward 

under the section. 

Some workers prefer 
to hold the working 
side toward them, con- 
tending that a greater 
pressure can be brought 
to bear on a downward 
stroke than an upward 
one. In that case the 
design is stamped or 
traced on the wrong side 
of the leather. 

The oftener the rub- 
bing is done and the 
leather is dampened the 
higher the design will 
Fig. 92. A magazine cover stand forth. The parts 
to be worked in relief may be done before the 
background (Figure 92). 




NEEDLECRAFT 95 

To keep the leather from falling back to its natural 
shape some workers paste the relief parts. My 
teacher used a paste that we found quite stiflF enough 
except for large heavy objects. 

To make this paste an ounce of dextrin is left 
soaking in water for about sixteen hours. Dextrin, 
by the way, is the only paste which will not stain 
silk. It is a white powder, and when used as a paste 
can be dissolved in boiling water till it is the consist- 
ency of a thick cream. When used as a modelling 
wax, however, it requires to be thicker than a cream. 
After the dextrin is dissolved mix in a pint of scrap 
leather that has been grated to shreds, and a few 
drops of turpentine. The scrap leather thickens the 
paste while water thins it. 

Before applying the paste to the leather the raised 
side is placed face downward upon the marble. 
Take some of the paste and press it into the hollow 
places until they are entirely filled. After every 
space has been filled lay a piece of paper over them 
and then a cardboard or a piece of board large 
enough to cover all the design. 

Turn the leather, paper, and board right side up 
on the working table. While the places are being 
filled in the design is apt to be pushed a little out of 
shape. With the finer modelling tool or your 



96 NEEDLECRAPT 

nut pick go over the flattened places again. Let 
the work remain on the table for four days without 
touching it so that it may be thoroughly dried. 

Sometimes you will see a beautiful tinted leather. 
This is usually done by the means of dyes, or 
chemicals, For the amateur the former is recom- 
mended. The dye is applied to the leather with 
soft cotton or a sponge. To deepen the shade wet 
the places desired to be darker two or three times 
with the dye. 

To obtain the brightly polished appearance so 
often seen in a handsome piece of leather rub the 
piece with your bare palms. A little wax rubbed on 
your hand greatly aids the work. 

In all leather work it is necessary to leave a mar- 
gin about a half inch at least. 

Another paste which may be substituted for the 
formula given in this chapter is one made of equal 
parts of sawdust and rye flour with water. 

The cutting or shaving knife that comes with the 
outfit is good for cutting the leather. If a deeper 
indentation is desired than is obtained by tracing 
the pattern, a slight slit may be made with the 
shaving knife. Of course cutting the leather weakens 
it and it should only be done on a very heavy piece 
of skin. 



NEEDLECRAFT 97 

The hammer is indispensable for stamping in 
the Httle dies. These dies are not usually included 
in the outfit. 

The difference between the modelling (Figures 
93 and 94) and embossing tools is that the embossing 

Fig. 93. A modelling tool 

tools are a greater aid in achieving fine bas-relief 
work. The embossing ball tool is used to make the 
deep indentations. 



Fig. 94. A modelling tool 

The punch is to make holes for rivets or through 
which cords or ribbons may be passed to connect 
two or more pieces of leather together as on a pad 
or book. The punch and pearling knives are used 
in fine carved leather. As one becomes proficient 
in the art of simple leather work she is tempted 
to branch out and try more elaborate work. A 
great many books have been written on this subject 
which, though perhaps puzzling to a beginner, will be 
interesting and invaluable if the work is taken up as a 
serious occupation. The best specimens of this work 
can be seen at the different arts and crafts exhibitions. 



IX 

THE SIMPLEST STITCHES IN EMBROIDERY — CHAIN 

STITCHING, OUTLINING, HERRING-BONING, CROSS- 

STITCHING, SOUTACHE, CORONATION BRAIDING 

IT WOULD be hard indeed to say just how many 
stitches there are in embroidery, as so many 
are combinations of the others. The ones you 
will hear about are the simplest ones. 

Some years ago I had a large class in embroidery 
in a mission school. Every seat was taken and 
many applicants were refused admittance. The 
supervisor came in one day and said that there was 
a little girl who was very anxious to join the class 
and that she knew how to sew. I did not have the 
heart to refuse her, so in marched little Nellie. She 
was just seven years old and said that she attended 
sewing school every Saturday at her church and that 
her teacher had taught her all about embroidery. 
I gave her a little stamped design and told her to 
chain-stitch it and let me see how well she could do 
it. About five minutes later I happened to turn 
around and there was little Nellie frantically waving 

98 



NEEDLECRAFT 99 

her hand. "Teacher, teacher," she said, *' that is the 
only stitch the Lady didn't show me." 

Now, as I am most anxious that nothing Hke that 
will happen to you, I will start with chain-stitching 
as the simplest stitch (Figure 95). It is also one of 
the oldest stitches in embroidery. Every museum 
that exhibits embroidered articles will have some 
elaborate designs carried out in fine chain-stitching. 
If the stitches are worked in filo silk or spool silk 
the effect is like machine work. 

Draw a straight 
line on a piece of 
muslin and thread 
your needle with a 
piece of red cotton. 
No knots should be 
used in embroidery. 
Fasten the thread 
by taking three fine 
running stitches and one back stitch to insure firm- 
ness at the end of the line. Now with the needle 
in position at the beginning of the line, start by 
taking a straight stitch on the line. Bring the 
thread under and pull the needle through the 
material. You have made the first loop. Put 
your needle back into the last hole or as near as 




Fig. 95. Chain-stitching, showing how 
to turn a corner 



100 NEEDLECRAFT 

possible to it, take another stitch on the Hne, repeat 
until you come to the end of the design. 

Take the same length stitch every time or you 
will not have a good-looking chain. If you will 
look at the links in your chain bracelet, you will see 
that every link is the same size as the others. Sup- 
pose you wanted to chain-stitch a square or a triangle : 
when you come to the corner do not try to make one 
continuous line, but carry the needle down through 
the material at the end of the loop to fasten the link 
and start the next row at right angles to it. Chain- 
stitching can be put to many uses. It is a pretty 
stitch to cover a single line in a conventional design. 
It is also the quickest kind of padding for large 
designs. When it is used as a padding, the rows are 
worked close to each other. If the work is to be 




Fig. 96. Smooth outlining 

raised very high, the chain-stitching may be placed 
in rows one on top of the other. You will, however, 
hear more about padding in a later chapter. 

The next stitch we will talk about is the out- 
lining, (Figure 96). Some people think it is 



NEEDLECRAFT 101 

simpler than chain-stitching. It was the first 
stitch I learned in embroidery, but it is not as pretty 
as chain-stitching. The first thing I did in fancy 
work when I was nine years old was a wonderful 
face cloth with a wild rose on the top, and under it 
my name and the motto, ''Cleanliness is Next to 
Godliness,'" worked in red cotton. After that I 
made face cloths for every member of the family. 

Outlining makes one think of plain sewing. There 
are two kinds of outlining, rough (Figure 97) 
and smooth, the difference being in how the 
thread is thrown. To make the rough outline, fasten 
the thread as directed in 
chain-stitching and on the 
line take a stitch about an Fig. 97. Rough outlining 
eighth of an inch. Then work from left to right. 
Let the thread fall under the needle and be sure 
to keep it this way. A smooth outline is made 
by throwing the thread over the needle instead of 
under it; this outline can be used as stems for 
flowers unless a more elaborate kind is desired. 

Either chain-stitching or outlining is an excellent 
way to decorate bureau scarfs, pillow tops, or table 
covers. 

Herring-boning is used for finishing seams on a 
flannel skirt, or it may be used above hems. The 



102 NEEDLECRAFT 

little flannel skirt you intend to make for Sally Ann 
this winter should be finished in this way. Here is a 
stitch for which we do not need guide lines, though 
while you are learning, the lines might be helpful. 
Draw two parallel lines a quarter of an inch apart. 




Fig. 98. Herring-boning or catstitching 

Take a stitch on the upper line, about an eighth 
of an inch long. Then make one on the lower line, 
letting the thread fall always to the right. When 
you have made a row between with the lines, try to 
work one without lines and see if you can keep the 
herring-boning straight (Figure 98). 

A plain quilt or cover for the baby can be made 
very attractive, by working herring-boning around 
the edge. If the cover is woollen, use worsted or 
heavy silk for the stitchery, but if it is cotton mate- 
rial, a heavy lustre is recommended. The needle 
to use depends on the thread. A sewing needle 
will carry a round cotton thread such as D. M. C, 



NEEDLECRAFT 103 

Madonna, Utopia, Royal Society, or Peri lustre. 
A crewel needle, which is a needle with a long eye, 
will be required for silk or worsted. An easy way 
to thread a No. 2 or No. 4 crewel needle with worsted 
is to hold the needle in the left hand and double 
the thread at one end and run the needle through 
it. Hold the thread between the thumb and first 
finger of the right hand so that the thread is just 
visible. Gently pull the needle out with the left 
hand and run the doubled thread through the eye. 
It sounds a great deal harder than it actually is, but 
it will require very little practice. 



1^^ = ^. 


u/^ ^^ 


% T 


^5==sJ 


^/^yTlZl- 


"^ 1 


t 









Fig. 99. The first step in cross-stitcliing 

When you went to kindergarten did you have little 
pierced cards on which you made designs in coloured 
silks or cottons.^ Well they had these at my school 



104 



NEEDLECRAFT 



and we made book-marks, needle-books and all 
sorts of funny little things. If you remember the 
cross-stitching of the kindergarten days, regular 
cross-stitching will be a simple matter. The nicest 
material for this work is Java canvas, which is very 
coarse and stiff. It is ideal for book covers or nap- 
kin rings. The holes in the canvas are so large that 
working on it is almost like play. As Java canvas 
is rather expensive you will find a coarse scrim a 
good substitute. A lot of boys that I once knew 
took up this work very enthusiastically, so simple 
is it. 





"^^ 


"\ — 








^ 


4 ^3 




• -^ 


^H M^j^l^-^^ 




-y 








-^— ^ gp^. 






-. 1 — J — 1 — 1 — L- 


-ILL 



Fig. 100. The second step in cross-stitch 

Do you know that you can make a gingham apron 
for mother and decorate it with cross-stitching that 
will last ever so long? Get a piece of gingham with 
squares about an eighth of an inch. Cross-stitch it 
in a shade darker than the gingham or in white or 



NEEDLECRAFT 105 

red. The stitches are taken on the diagonal as 
shown in the diagram (Figures 99 and 100). If 
there is a great deal of cross-stitching to be done, 
the quickest way is to make all the stitches that run 
in one direction first, and then come back and cross 
them. Perhaps mother has a small piece of cross- 
stitching that you can use as a model. Simple 
triangles are easy to make. Begin the lower row 
with an uneven number, such as seven, nine, eleven, 
or thirteen. The next row make two stitches less, 
dropping one from each end, and so on till you have 
one at the top. 

Now suppose that you had a little linen or silk 



















BIlBBHHBBi 


BBBaiHBHiB 


"nMfK^jJlPp 


BjK|gPfippP" 


fC^'Sl-WtC^ 


jrnffj^jTpjl J 


r pif ^B 1 r pj 


r^Cj^ L jW- 


1h IraL^i-J 


mBB L W r Iw 


Wm M. mLJM 


H H faOBB. Wt 


M libHrHi ■ 


^aotntwSwSt 


M SsHLjrf^ 


Pn»Pt?fTB 


Ih 11 IhbT 


m So rjBl H 


jCKIMuLr 


ZrtnJiJ'i 


_Q&&n^ 


uBi]^ 


























V ^ 


tit 







Fig. 101. A good hand design in cross-stitching 



106 NEEDLECRAFT 

bag on which you would like to have a cross-stitch 
design, yet this material is not coarse enough for 
you to use as a guide for the cross-stitching. Do 
not think you cannot do it, for I will show you a 
way. Get a piece of scrim just as coarse as you can 
find, and baste it over the place you would like to 
cross-stitch. Work the design on it and when the 
cross-stitching is all finished pull out the scrim 



11 1 1 1 1 1 1 1 1 1 1 1 1 "T 1 






" ~l~l8KillHI IHIHRRII IBiiaiBB HHIiiill 


TOT T^ B u" jflT " w£ 


jMftpHfflj nB^Hh ''™ 3 iBiff' 




RhIDIBIcQi fflffTflf TS^ fM"|iM"lH 


lifl wOm H' H Ifll Hi 1 H IBI M"] 


1 U IBI M 1 H Kh U I 1 H IBI HI 


hH mh nbj pdI vw| HH IpoI IaI job 


^SbCxJvV' pQsi_ifvc^ Wo^Tjqm 


JMIm fcrtftf 1 lUkoKnaAB l 1 AHAnABn | 




u u IL u rfUu Si uUulJdulij ^ uL ■ Ju wL II * 


l8KHliiR!-l8iHBBifl_lilReR8l 








^^^ I 


ffl5 


1 1 1 



Fig. 102. A cross-stitch design 

thread by thread. Sometimes you will have to snip 
the thread of the scrim if your needle accident- 
ally gets caught in them. (Figures 101, 102, 
and 103.) 

A very simple thing to do is to braid a dress for 
yourself. Now that all the large pattern houses 
are carrying transfer patterns you can get a design 



NEEDLECRAFT 107 

for braiding very cheap. A little girl I know braided 
a dress for herself and one for her mother last sum- 
mer. She used light blue chambray and braided 
it with white. There are several kinds of braid, but 
the easiest to use is soutache, whether it is cotton 
or silk. It is a flat braid and varies in width from 
one to three eighths of an inch. First stamp your 





- 












- 




i^i 


-=»«m"'*"S--5i- 


: 1 "*: i *8^ 


:i:-Hi"i:i::"i_Ji . 


~^m ^t 


:-jP«::::i|::"|3l 


%?i MjMr 




piitW 




jjj^ J3^0ij„j. 




? 








^!t^il- ^- 



Fig. 103. Another cross-stitch design 

design on the material, or if you have not a transfer 
pattern you can draw a design on tissue paper, mak- 
ing it as long as required and then baste the paper 
in right position on your dress. Take a stiletto, 
which is a little tool somewhat like a nail that is 
used in embroidery for piercing holes, and punch 
a hole on the line. Push one end of your braid 



108 NEEDLECRAFT 

through this and fasten the end of it on the wrong 
side of your material. Thread your needle with 
sewing cotton or silk the colour of the braid and sew 
it down with little running stitches and an occasional 
back-stitch to fasten it firmly. When you come to 
the end of the line or of the braid, carry the end 
through as at the beginning and fasten. 







^ V 


y] ^ 


Z g E E_.^-_^ 


(f Xs E ^ J 


EE ^ KZZE^^KEZE. 


jE exee E xexx E 


Z Z ^ ZjE X ^ 


^ E E xTT X X 


EE E^EKEE E EExEI 


:E EEEE E EEEE E 


E E ^E I 




X E 


:e ^g E^ 







Fig. 103A. A fourth design in cross-stitch 

Coronation braid is beautiful, but oh, so very 
much harder to sew on than flat braid. There are 
two ways that coronation braid may be sewed on. 
The one that I give preference to is stamping the 
design on the wrong side of the material and holding 
the braid on the right. A stiletto hole is made on 
the line and the end of the braid brought through 
to the back and fastened securely so there will be 
no likelihood of its slipping. Then, holding the 
braid with the left hand, connect it to the material 
from the wrong side with fine running stitches. The 
stamped line on the wrong side will serve as a guide 



NEEDLECRAFT 109 

for the stitches. You can feel every time the needle 
touches the braid. Now perhaps many of you are 
wondering what coronation braid is. It is a braid 
that looks like fat grains of rice all strung together. 
There are different sizes of the braid, varying from 
the quarter inch to the three quarters of an inch size. 



Fig. 104. Coronation braid 

The second way to sew it on is from the right side 
with little slip stitches. At the small end it would 
be wise to take a stitch over the braid to hold it 
firmly. Centre pieces, bureau-scarfs or even towel 
ends are handsome when decorated with coronation 
braid, and do you know it is a very easy matter to 
make designs for yourself, as there is nothing prettier 
than daisies or wild roses for coronation braid. If 
the petals are too fine to allow you to use the coro- 
nation braid, then you must use one grain for each 
petal, cutting off the grains as you require them. 

Coronation braid comes in white. Delft blue, 
bright green, or red. The braid is supple enough to 
turn sharp corners. 

The daisy, as I have stated before, is one of the 
principal designs used for coronation braid. Braid 



110 NEEDLECRAFT 

the flower with one piece of the braid. It is not 
necessary to cut the braid but at the beginning and 
the ending of the daisy. The very largest width 
of coronation braid will be required for the daisy. 
Two grains will be sufficient for a petal. Bring 
the narrow ends to the centre and connect them to 
the material. In the centre make a cluster of French 
knots. The effect produced is a daisy embroidered 
heavily and yet quite different from satin stitch. 
(Figure 105.) 

A belt decoration with five or six coronation daisies 
is very attractive when used on a light summer 




Fig. 105. A daisy in coronation braid 

dress. Sometimes the owner prefers to couch the 
braid down with blue cotton and to work the centre 
of the daisy in the same colour. 

A row of daisies is improved by working a fag- 
otting stitch which is explained in "Simple Lace 



NEEDLECRAFT 111 

Stitches," between the petals. See that the braid is 
sewed on far enough apart that the lace stitches will 
not be crowded. 

Coronation braid is also used with crochet stitches 
for the borders of centre pieces and towels. 



SMOCKING, FEATHER-STITCHING AND LAZY-DAISY 

STITCH 

SMOCKING is such a fashionable trimming this 
year that I am sure you will not be content- 
ed till Sally Ann has a smocked dress. Why, 
one cannot take a walk in the park without seeing 
several little children and some grown-ups, too, 
wearing smocked dresses. Sometimes they are made 
of fine lawn or pique and then again they are China 
silk, crepe de chine, or cashmere. 

Stamped patterns can be had for smocking but 
they are not at all necessary. Nearly every little 
English girl knows how to smock without buying 
a pattern and why should not you.^^ 

The simplest form of smocking is the honey-comb 
or diamond (Figure 106). It can be any size you 
wish. A good size for Sally Ann's dress is the 
half-inch diamond smocking. The beauty of the 
work lies in its regularity. To keep it so, the dots 
must be spaced evenly. A good way is to have 
a marking card. Take a piece of heavy paper or 

112 



NEEDLECRAFT 113 

thin cardboard about six inches long by an inch 
and a half wide. With a ruler draw a faint line 
one half inch down parallel with the long edge of 
the card. Draw four other lines below this at quar- 
ter-inch intervals. Be sure that the space between 
each two lines is a quarter inch, no more or no less. 
Along the top line measure in one half inch. From 
this point make dots at quarter-inch intervals all 
the way across. Each line is dotted in like manner, 
letting each dot come directly under the upper 




Fig. 106. Diamond smocking 

one in straight rows. If mother has a card punch 
ask her to lend it to you and where the dots are make 
holes. A stiletto will answer the same purpose 
as the punch; or an orange stick may be pressed 
into service. Your marking card is now ready. 
Measure the length you wish to make Sally Ann's 



114 NEEDLECRAFT 

skirt. Select a piece of material that will show 
pencil marks, such as lawn, pique, China silk, or 
crepe de chine. It will not be necessary to gore the 
skirt, as the smocking will form a sort of yoke for 
the dress. A little frock smocked in blue or red will 
be nice enough for all occasions. Take the material 
and smooth all the creases out after it is cut the right 
length. You must allow about the same amount of 
material for the width of the hem as you do for or- 
dinary skirts. Place the smocking card so that the 
edge of it is on a line with the top edge of the goods. 
The smocking must be done before the belt is put 
on. Through each of the perforated holes make a 
dot in lead pencil. After every hole has been dotted, 
move the card so that there is only one quarter of 
an inch space before commencing to dot again. In 
other words, place the card so the dots have the ap- 
pearance of being one continuous design. 

Thread a No. 6 sewing needle with a piece of red 
or blue cotton. Make a tiny knot at the end. 
Start from the topmost left-hand dot from the under 
side of the material. Draw the first and second 
dots together. Three stitches on the right side will 
suffice to hold them together. Between the second 
and third dots let the thread span the material on the 
wrong side without pulling it. The third and fourth 



NEEDLECRAFT 115 

dots are drawn together and then the thread spans 
the space between the fourth and fifth. Do you 
see how we are working? First a dot, then a space, 
a dot, then a space, until the entire Hne is finished. 

The second row is worked exactly the same only 
instead of starting on the first dot of the second row, 
start with the second. The third row corresponds 
with the first and now at last we have formed a 
diamond. 

If a little more colour 
is wanted than just 
the dot alone, pass a 
thread along the edge 
of each diamond under 
the dots. A sugges- 
tion which may prove 
helpful to you if the 
material has starch in 
it is that it is easy 
to crease each line of 




Fig. 107. Smocking in points 



dots before starting to smock. If the material is 
soft the smocking should be stroked or gauged. 
There is a new term to learn, ''gauge." It is the 
same as stroking in sewing. The English women 
have all sorts of complicated patterns in smocking, 
but the one that is most popular is the diamond 



116 NEEDLECRAFT 

smocking I have told you about. After you know 
the principle you can make the smocking as deep as 
you wish and then try and smock in points. (See 
Figure 107.) 

Feather-stitching is almost as simple as smocking. 
It has various other names. Perhaps you know 
it by the name of ''brier-stitch." The first and 
simplest form is the single feather-stitching. A 
thread as fine as No. 60 sewing cotton or a heavy 
Germantown wool can be used for it. 
Baby blankets or a blanket for yourself 
are pretty feather-stitched in wool. 

Like smocking, patterns can be had 
for feather-stitching. But the best 
embroiderers never use 
them, as their mechanical 
correctness makes the 

Fig. 108. Single WOrk tOO mUch like ma- 
feather-stitching 1 . 1X1 

cnme work, i do recom- 
mend, however, a faint line drawn so as 
to have something on which to guide 
your line and gauge your stitches. 

Let us thread our needle with a piece Fig. i09. Double 
of coarse blue thread. On a little piece ^^ er s i c mg 
of muslin draw a faint pencil line across it. Com- 
mence from the upper right-hand side of the line. 





NEEDLECRAFT 



117 




Fig. 110. Triple 
feather-stitching 



Take a short stitch about three sixteenths of an inch 
on the right of the Hne, slanting to the Hne. Let the 
thread come under the point of the needle in each 
stitch. The second stitch is taken on 
the left side of the line the same dis- 
tance over and the same in slant (Fig- 
ure 108). 

Double feather-stitching is two 
stitches to the right, two to the left 
and so on till the line is finished (Fig- 
ure 109). In fact you can make three, 
four (Figures 110 and 111), or five 
stitches or even more if you wish on 
each side. The prettiest little border can be made 
of feather-stitching in circles. Take 
a quarter or a fifty-cent piece and 
draw a faint line around it on the 
material about one inch from the 
edge. Move the piece till it over- 
laps the pencilled circle and draw 
another circle. Repeat as many 
times as necessary to go around the 
skirt, sleeve, or section you are 
decorating. A row such as this 
makes a pretty decoration around the sleeves and 
neck of a night dress or the ruffles of drawers. 




Fig. 111. Four on each 
side 



118 NEEDLECRAFT 

Marking cotton No. 20 or No. 25 should be used 
for feather-stitching underwear. 

Infants' dresses, bibs, or petticoats of lawn or 
any very sheer material of cotton or linen should 
be worked in fine marking cotton, either Nos. 25, 30, 
40, or 50. 

Just a word about threads. There are several 
different kinds. The most popular and best known 
are D. M. C, Madonna, Royal Society, and Utopia. 
The numbers run about the same. Some teachers 
recommend one certain kind, but the result obtained 
from using any of them is almost identical. 

There is a pretty little stitch that can be made 
with a foundation of double feather- 
stitching. We used to call it ''seaweed- 
stitch" when we were youngsters. I 
remember I made a white cashmere coat 
for my doll and used the seaweed-stitch 
along the hem and above the opening, 
and on the cuffs and collar of the coat. 
It was embroidered in rose coloured filo 
silk. A row of double feather-stitching 
was worked in the usual way. At the 

Fig. 112. Sea- 

weed-stitch end of each stitch a little Van Dyke 
point or V was worked. Try it yourself and see 
how dainty it is (Figure 112). 




NEEDLECRAFT 119 

A good way and something new for decoration is 
the feather-stitchery used Hke festoons on the hems. 
The way this is done is to take a compass and make 
a circle about two and a half inches in diameter. 
Cut it out in heavy paper or thin cardboard. Baste 
the hem in place and then trace one-third of the 
circle. Repeat in like manner till the hem has the 
appearance of large scallops. Along the lines work 
the single or double feather-stitching in No. 20 
marking cotton through the two thicknesses of the 
material. Pull out the basting threads from the 
hem and then carefully cut away the material 
within each scallop on the wrong side of the hem. 
In other words, the upper part of the under hem is 
cut close to the stitching. Cut right down to the 
feather-stitching. 

Only thin materials are pretty worked like this, 
as the doubled material gives a milk-white appear- 
ance, while the upper or single parts are transparent. 
A lazy-daisy stitch worked in the centre of each 
scallop adds further beauty to a feather-stitched hem 
such as has been just described. The lazy-daisy 
has been aptly called because it requires a stitch 
to connect each petal to the material. 

Another name for this lazy-daisy stitch is the 
"bird's-eye" stitch (Figure 113). It is used to rep- 




no NEEDLECRAFT 

resent clovers, daisies, or leaves. The stitch is 
made, if for a daisy, from a common centre. Bring 

your needle up from the 
centre of the daisy and 
take a stitch the length of 
the petal. Let the thread 
come from the left under 
the point of the needle. 
Pull the needle through the 
material on the right side. 
A short stitch at the end 

Fig. 113. The lazy-daisy stitch « , i i . 

of the petal catches it 
down to the material. The needle is now brought 
back to the centre and the next petal made in the 
same manner. Any size daisy can be made like 
this from the quarter to a two-inch size. Remember 
that the larger your daisy is the more petals it should 
have. As fine thread should be used for the little 
flowers and the heaviest silk or lustre for the big 
ones, it is a wise plan to faintly mark in pencil the 
daisy. One line will be suJBScient for each petal. 
If you do this, you can then be sure that each petal 
will be the same length as the last. 

A charming little yoke can be made of groups 
of fine tucks and rows of the daisies. 



XI 

COUCHmG, SHADOW WORK AND TURKISH STITCH 
HOW TO STAMP DESIGNS 

THE more one does of fancy work the more 
fascinating it becomes. Every new piece 
presents an opportunity for new stitches 
and colours. 

We have talked a lot in the JBrst chapters of this 
book as to the different implements necessary for 
sewing and by now I am sure you have a well- 
equipped sewing box or basket. Now it will be 
necessary to add considerably to your work box 
for embroidery. 

The crewel needle which I mentioned in the ninth 
chapter is the most important implement. Get 
a pack of assorted Nos. from 5 to 10. They will 
answer every purpose unless you need a large 
tapestry needle for couching. The most unfortunate 
thing about a crewel needle is that the eye has the 
bad habit of breaking. This is caused from the 
steel being so fine at the top that vigorous working 
snaps it off very quickly. 

121 



122 NEEDLECRAFT 

A tapestry needle is like a large crewel needle, 
only it is much stronger and the eye is very large. 

A stiletto of ivory, bone, or steel should also be 
in your box. An orange stick can be substituted 
for a stiletto in case of emergency.^ 

A small pair of scissors, too, should be included 
to cut the ends of silks or pare away the material 
after buttonholing or making an eyelet. 

I have kept the most important till the last. 
That is the embroidery hoop or rings. Really 
you would be surprised to see how many different 
kinds there are in this world. First there are the 
black celluloid ones that have their good points, but 
they do not stretch over the material. Then there 
are the common wooden ones that have sharp edges 
that catch and fray the silk on every turn. There 
are some wooden ones that have a felt lining and 
whose edges are an improvement on the cheaper 
kind, but they also do not stretch over thick fabrics. 
The kinds that have a spring and may be adjusted 
to any size desired have their advantage, but the 
spring catches the silk also and of course that will 
never do for fine work. The simplest, best, and 
cheapest kind is the pair that is made at home. 
Get two pairs of the cheapest rings, even if their 
edges are rough. One pair should be small enough 



NEEDLECRAFT 123 

to set inside of the other. They vary from the 
smallest to the largest circular kind, each one setting 
inside of the other. Select two pairs that come next 
in size to each other. The most convenient size 
and ones that can be used for all kinds of work are 
the six inch. Take the larger hoop of each pair for 
your work. Now cut a piece of canton flannel in 
half -inch strips, or if mother has the coloured selvage 
left from a piece of flannelette, get that. The 
largest hoops should be wound over and over like 
the hoops they use in schools for fancy drills. The 
other hoop should be padded before winding it. 
To pad, lay strips two or three thicknesses deep 
around the hoop and then wind thickly like the 
other hoop. Hoops like these never leave marks 
on the material, as often happens with the celluloid 
or wooden hoops. Another point is that the sheerest 
material, such as chiffon, can be used in them, while 
if a heavy burlap or crash is embroidered over them 
a little of the winding strips can be removed for the 
time being. 

There are other things you might find handy for 
your box, but it is no use getting them till you have 
occasion to use them. 

Now we are ready to make use of some of the things 
just described. The tapestry needle will be brought 



124 NEEDLECRAFT 

into use for our next stitch, which will be couch- 
ing. 

It is a beautiful old stitch that is often used as an 
outline. It can be made as a heavy thick cord, or 
yet again it need only be the size of a fine string. 
The expression is often used, "Couch a cord on." 
Cord is used instead of threads and lustre on pieces 
where only the effect is wanted. 




Fig. 114. Couching 

To couch with a number of silk or lustre threads 
select a No. 2 tapestry needle. Cut the skein of 
silk so that you will have the longest length of thread 
possible. Thread your needle with all the strands 
in the skein, if the eye will carry them. Make a 
stiletto hole in the cloth on the line of the design. 
Bring the tapestry needle through to the back 
(Figure 114). 

A crewel needle is threaded with a single strand 
of silk, the same shade or lighter or darker if you 



NEEDLECRAFT 125 

desire. Fasten the silk ends down neatly on the 
back of the material with the single thread and 
bring it up one quarter of an inch from the hole and 
span the cluster of silk threads. The threads are 
caught down in this manner at quarter-inch inter- 
vals. When the end of the line is reached, the cluster 
of threads is again taken through to the back of the 
material. 

Couching is a stitch that you will hear more about 
in later chapters. ^p^^ 

The Turkish or Ismet stitch l^^uL 

is another name for cat-stitch- mnJ'-- -.^T^ 

ing or herring-boning. See Fig- "''^mi 
ure 98. The stitch is taken 
vertically instead of horizon- 
tally, as in cat-stitch. Tur- ^'^' ^^^- '^"'^^^ ^^^^^^ 
kish stitch gets its name from the embroideries 
from Turkey (Figure 115). It seems to be the 
favourite stitch of the Turkish ladies. 

Have you ever noticed how many pieces of Turkish 
embroidery are worked on coarse unbleached muslin 
or tan linen.? The colours are generally bright 
green, blue, coral pink, chestnut brown, purple and 
then outlined in black or gold thread. 

Shadow work, is not that a funny name for em- 
broidery.? But you can understand why it is called 



126 NEEDLECRAFT 

that when you see a piece worked. It gives the ap- 
pearance of a design under the cloth, as all the 
stitches are taken from the wrong side of the material. 
The design is drawn or stamped on the wrong side. 
Lawn is usually selected for the background of 
shadow work because of its transparency. A heavy 
cotton such as No. 16 or No. 20 marking cotton or 
D. fine lustre is necessary. 

Daisies or chrysanthemums are most popular 
for shadow work on account of the smoothness on 
their edges. Not that it is impossible to work 
an indented edge, but it is more difficult. 

^«s><=» To work the shadow 

\ / ° stitch, place your work 

\ Qo over your embroidery 

^ o o o o ,s ^ ^^SS^"^ ^"^ \ hoop with the design side 



'^^oooc^^'l^o'o ^t°°''°**'^ ^P- Start to work a 

0^ ^ \ % petal from the heart of 

g / «• the flower. Do not use 

Fig. n'o' The righrside of ^ ^UOt. The Stitch is 

shadow stitch lii^e cat-stitching (see 

Figure 98). First you take a stitch on one side 
of the petal, then you pass over to the other side. 
Be sure you take the same length stitch every time. 
The stems are worked in outline stitch. Shadow 
work from the right side looks like back-stitching 



NEEDLECRAFT 127 

(Figure 116). It is used on aprons, shirtwaists, or 
bureau scarfs where a good eflFeet is wanted with 
very Httle work. 

There are two ways of working the leaves of 
daisies or chrysanthemums in shadow work: First, 
and the best in my opinion, is to start and work 
from the top of the leaf to where the midrib com- 
mences in the design. Now work from the midrib 
to the outer edge on the right side of the leaf. The 
left-hand side is yet to be filled in. Start from the 
base of the leaf and instead, however, of putting 
the needle through the material by the midrib 
catch one thread upon the midrib and then take 
a stitch on the left-side edge of the leaf, up to where 
the midrib ends. 

The other way of working a leaf is to outline the 
midrib first. Then start from the base of the leaf 
and work across the entire leaf. The former way 
is the better, because there is not such a wide 
stretch of thread on the wrong side as in the latter 
method. 

Batiste, organdy, and lawn are the usual materials 
used in America for shadow work, but in England, 
where more substantial materials are generally 
liked, tea cloths of linen in shadow stitch are often 
seen. Tiger lilies are good for any large piece. 



128 NEEDLECRAFT 

The effect of shadow work on Hnen is as if a padded 
design was placed on the material. 

White is the nicest for working shadow stitch on 
waists, especially as colour is apt to cheapen the effect. 

Remember that a design drawn out in pencil soils 
the cottons or silks and necessitates the article being 
washed before it is used. You can buy patterns 
for embroidery so cheap and in such excellent 
taste that it pays one in the end to use them instead 
of drawing on the material. There is the perforated 
design that can be had from five cents up. It is the 
oldest and in some ways the most expensive pattern. 
The perforated paper is laid, with the rough side 
up, over the material on the ironing table or any other 
flat surface. An especially prepared powder that 
embroidery shops sell for stamping designs is the 
best to use. A pouncet is several layers of felt rolled 
together, or a piece of wood covered with felt. 
Rub the pouncet in the powder. See that the pat- 
tern is weighted down so that it will not slip while 
you are working on it. Rub the powder in with a 
circular movement. Lift the weights from the 
lower edge of the paper, and gently raising the 
pattern see that the design is well on before removing 
the pattern. A hot iron will be necessary now to 
set the powder. Every time you use the iron just 



NEEDLECRAFT 129 

clamp it down on the design. Wipe it off on an 
old piece of cloth before you press it again on another 
section of the design. Each time the iron touches 
the powder, part of it adheres to the iron and the 
design would be spoiled if the iron was used again 
before wiping it. After the design has been set, 
the iron can be used freely over the whole work. 

There is another method of stamping with a 
perforated pattern, and that is placing the smooth 
side of the design face upward and using a blue paste 
that comes in cake form. The pouncet is dipped in 
kerosene or naptha and then rubbed on the paste. 
Apply to the paper as directed for the powder. This 
method requires no iron, but care must be taken not 
to get the pouncet too wet or the design will run. 

A third method for stamping is one that requires 
to be rubbed with the back of a spoon. The fourth 
and newest method of stamping is by the transfer 
designs. The patterns are in different colours. 
Place the transfers with the bright or raised surface 
next to your material and press with a heated iron. 
Some patterns require a very hot iron, while for 
others a moderately heated iron suffices. 

You can make a perforated pattern yourself by 
drawing a design on a piece of paper and using a 
sewing machine to perforate along the lines. 



XII 

BUTTONHOLING AND WALLACHIAN EMBROIDERY 

EMBROIDERY buttonholing is a little (lif- 
erent from the buttonhole stitch used in 
sewing. It is a stitch that is most used 
to finish the edges of centre pieces, scarfs, and, in 
fact, any article where embroidery is wanted to finish 
the work. You know that it is possible to use a 
fancy stitch, such as the Turkish stitch described 
in the last chapter, but in that case the material 
will have to be turned back and hemmed. The 
twill or purl of buttonholing, as the little ridge on 
the edge is called, serves as a resistance for the 
material from fraying out. 

The buttonhole stitch is the most popular in 
embroidery. It is the foundation for many other 
stitches. Feather-stitching is really an open form 
of this stitch. 

As a usual thing it is necessary to pad before 
working buttonholing. It raises the work and makes 
it much more durable as an edge. The padding can 
be done in either running-stitch or chain-stitching. 

130 



NEEDLECRAFT 131 

Let us take for our first example the straight 
buttonhohng. It is the simplest form. Cover the 
space between the lines with coarse, running stitches. 
Let the background be medium weight linen. The 
padding thread should be No. 16 or No. 20 marking 
cotton, or two strands of white darning cotton makes 
an excellent padding. The stitches can be fully 
one quarter of an inch in length. Take up a single 
thread of the background so that the padding will 
be all on the top of the material. This keeps the 
work well raised on the right side and perfectly 
flat on the wrong side. An extra row or two toward 
the outer edge of buttonholing raises the edge pret- 
tily. Chain-stitching is a more rapid way of pad- 
ding, but should only be used for coarse work. 
Remember that the wider the buttonholing the more 
padding will be necessary. 

The padding should be worked over your embroid- 
ery hoops, keeping the work as near to your fingers 
as possible. The actual buttonholing gets a rounder 
eflFect if done over the finger, though it is possible, 
of course, to do it over the hoops. 

Again, no knots in buttonholing. Thread your 
needle with No. 25 marking cotton. Make three 
little running stitches and one back-stitch to insure 
firmness in the starting. Let your thread come up 



132 NEEDLECRAFT 

slightly under the lower line of the buttonholing. 
With your left thumb holding the thread down to 
the material draw your thread to the right, take a 
stitch over the padding, bringing the needle out 
slightly below the lower line. The thread should 
fall under the point of the needle in each stitch. 

The next thing we learn in buttonholing is a 
scallop. The deeper the scallop the more difficult 




Fig. 117. A simple scallop 



it is to make a good corner and to keep the slant 
of the stitches right. When you buy a stamped 
piece of embroidery, select a pattern that has a 
shallow scallop and one where the points are not too 
sharp. In working a scallop the stitches should 
slant vertically in the direct centre, slanting the other 
stitches toward this point (Figure 117). 

The object in carrying the needle slightly beyond 
the stamped line is that all the stamping may be 




\ \ 



Fig. 118. A sharp scallop 



NEEDLECRAFT 133 

well covered. A stitch that is taken directly through 
the line shows the stamping. 

The diagrams (Figures 117 and 118) show 
how to work a simple 
scallop and one with 
a sharp scallop. A 
good deal has been 
written about the 
cutting of scallops, 
but the safest and 
wisest is to wash the 
piece before cutting 
out the scallops. A 
pair of small embroidery scissors should be used 
to cut the material away close to the twill of the 
buttonholing. If a scallop is cut before it is washed 
it frays so much that the edge has an untidy look. 

Some women work a row of machine stitching 
close to the lower edge before padding it, as a 
preventive from fraying, while others insist on 
cutting the material to allow a hem on the wrong 
side only. Try the first way and see if you are not 
successful. Another point to bear in mind in button- 
holing is that the stitches should be taken very 
close to each other. If a piece of buttonholing is 
well done it is hard to distinguish one stitch from 




134 NEEDLECRAFT 

the other, and yet they must not be made one on top 
of the other or the buttonhohng will be rough. 
Wallachian work gets its name from a little 

community in Pennsylvania. 
It is a German word and is 
nothing more than coarse 
buttonholing. It is espe- 
cially appropriate on heavy 
waists, centre pieces, pillow 
tops or work bags. A finer 

Fig. 119. A Wallachian ring f^j.^ ^f [^ looks Wcll OU shccr 

waists. The rings or circles are worked from a cen- 
tre like the spokes in a cart wheel (Figure 119). 

The leaves or petals of a Wallachian figure are 
worked on the slant, and here is the difference from 
ordinary buttonholing and the distinctive feature 
of Wallachian embroidery. 
Usually the petals have an 
indented top and a line 
running through the cen- 
tre. Begin at the lower 
right-hand section and take 
a short stitch on the line 
as for outlining. The next 

stitch is taken close to this ^'^- '^'' ™lachian stitch 

from the midrib to the outer right-hand edge. The 




NEEDLECEAFT 135 

stitches need not be quite as close as in buttonholing 
and no padding is required. Continue in the same 
slant to where the centre line stops. The stitches 
from this point radiate till they are in a good slant 
to continue down the left side. Note the stitches 
in the diagram (Figure 120). 

Some people do not slant their stitches and the 
result is that the work is 
not as pretty and loses 
its chief charm. 

Placing your thimble 
on a piece of material, 
make a little circle around 
it and in the centre make 
a little dot to practise the 
Wallachian ring on. 

You will find that your 
thimble or spool is a great 
help to you also in mak- 
ing scallops. Draw a line ^. ^^^ . ,. , , t. u • 

° ^ Fig. 121. A whisk broom holder m 

with the ruler just below Wallachian stitch 

where you want your scallop to be. Inscribe half a 
circle with the aid ofpyour thimble or spool on the 
straight line. Just within this half-circle draw an- 
other half -circle that will touch the upper line of the 
scallop. A ten-cent piece or in fact any coin can be 




136 NEEDLECRAFT 

used like this. Embroidered pieces should be washed 
by themselves, especially if they are worked in 
colours. 

A little girl I was teaching some years ago was 
very slow in working a centre piece. She finished 
the piece one day just before her term was over. 
Thinking that she would surprise me, little Daisy 
decided to launder the piece herself. Her mother 
knew nothing about embroidery, so was not able to 
tell her how to proceed. So Daisy washed the piece 
and having seen how mother bleached the linens, 
Daisy desired to give her piece a sun bath. She 
spread it out in the sun and when she went for it 
the colour was half out. Poor little Daisy was 
heart-broken. She would not have had this trouble 
had she observed the following directions : 

Put the piece to launder in warm water and rub 
it with a pure soap, such as castile. Ordinary 
laundry soaps are too strong of lye to be used. If 
the piece is very soiled let it soak a long time, several 
hours. Usually washing the piece out in water is 
sufficient. Rub with the hand only. Rinse in 
clean water and lay the piece on a thick cloth or a 
Turkish towel. Roll the towel up and leave until 
the piece is almost dry. 

Lay the embroidery, with the worked side down, 



NEEDLECRAFT 137 

over a heavy padded surface. Press with a hot iron 
quickly. If the centre of the piece puckers, dampen 
it again till you have pressed it out thoroughly. 

If you fear to put the iron directly on the piece 
lay a thin white cloth over it and then press. Many 
a really beautiful piece is spoiled in the laundering. 



XIII 

ROMAN CUT-WORK, FANCY BUTTONHOLING FOR 
BORDERS, WORK BAGS, BERMUDA FAGOTTING 

ROMAN cut-work or Colbert embroidery is 
one of the prettiest forms of buttonholing. 
The right way to work it is to make the 
stitches so that each one is distinct from the other. 
Some people insist on crowding the stitches as in 
regular fine buttonholing, which is quite a mistake, 
as its distinctness lies in dissimilarity to the ordinary 
buttonholing (Figure 122). 

The work is used for centre pieces, corners of 
lunch napkins, coat sets, as well as on heavy linen 
dresses. In Scotland the little girls make the entire 
yokes of their night gowns in cut-work as well as 
the top of their night gown case. These cases are 
placed on top of the bed pillows during the day and 
are marvels of fine handwork. This custom is 
not restricted to Scotland, but Italian, French, and 
German women are also proud of their night dress 
cases. 

The design for Roman cut-work should be bold 

13§ 



NEEDLECRAIT 139 

and not too close together. It should be stamped 
directly on the material. The American way of 
working it is to run a line of fine stitches on the 
outline and then work a row of buttonholing. The 
stitches are a little less than an eighth of an inch 
deep. The background spaces between the design 




Fig. 122. Roman cut-work 

are then cut away close to the buttonhole edge. 
Do not neglect to wet and press the linen before 
cutting the buttonholing. Keep the twill of the 
buttonholing on the outer edge of the design so that 
the background will be bordered with the twilled 
edges (Figure 123). 

The European method of Roman cut-work is to 
run the thread first and then cut the material so 



140 NEEDLECRAFT 

that there is an eighth of an inch extending beyond 
the running stitches. This is turned under till 
the running thread forms the edge and then the 
buttonhoHng is worked through both thicknesses 
of the material. This way prevents the linen from 
fraying. The design is basted over a piece of 




Fig. 123. A Roman cut-work centre piece 

coloured paper, letting the basting stitches follow 
closely the buttonholing. The wide spaces are then 
filled in with a simple lace stitch such as the twisted 
bar, woven bar, or spiders. Sometimes the spider is 
used in conjunction with one of the former stitches, 
and it is an excellent stitch for filling in the corners. 
Marking cotton No. 20 or No. 25 should be used for 
Roman cut-work, as well as the lace stitches. 



NEEDLECRAFT 141 

To make the twisted bar, plan tfie open spaces 
so that they will be well filled and yet not too 
crowded. Span from one side of the space to the 
other with the thread, then return and whip the 




Fig. 124. The twisted bar 

thread or stitch three or four times. The stitches 
may be connected and have the appearance of a 
series of points (Figure 124). 

The woven bars are made by working two threads 
across the space about one eighth of an inch apart. 




Fig. 125. The woven bar 

Start from one end and weave. Take up one thread 
on the upward and the other thread on the downward 
pass. Continue in this manner till the whole 
bar is woven. The bars are placed at equal distances 
apart (Figure 125). 



142 NEEDLECRAFT 

The spider is a little more complicated. It is 
made on an uneven number of threads, usually seven. 
They may be double or single. To make the whip- 
ped or double-thread spider, span the space with 
the thread and then whip back to the centre and 
connect the thread to the buttonholing again at 
some little distance from the first stitch. Whip 
back to the centre again and take a stitch directly 
opposite. Continue in this manner till there are 
five, seven, or nine threads around the centre, 
then proceed to weave under one and over the next 
thread until a good-sized spider is made. Do not 
make too large a spider, as it detracts from the 
work. An illustration for the single spider is given 

in the chapter on lace 
stitches. 

The blanket stitch is 
a favourite for work- 
ing the edge of flannel 
skirts or quilted covers. 
Worsted or coarse silk 
can be used for it. It is made on the raw or folded 
edge of the material. Two stitches are long and two 
are short. Sometimes they are worked like a pyra- 
mid. Beginning at the base we increase each stitch 
till we reach the point and then decrease each stitch 




Fig. 126. Blanket stitch 




NEEDLECRAFT 143 

in length as we work back to the base on the other 
side (Figure 126). 

The triangular buttonhole is a pretty stitch for 
a conventional design that has long narrow sec- 
tions. It may also be used for working a very large 
simple scallop (Figure 127). The way we were 
taught in school was 
to mark the section 
to be worked in deep 
points. The twill of 
the buttonholing 
must come on the ,,. ^^^ m, . • , u .. i. ,- 

Fig. 127. The triangular buttonholing 

lines. The stitches 

are not very close to each other. The stitches are 
taken on the line across to the next line. Begin at 
the longest opening and make every stitch shorter. 
When the line is covered, turn the work so that the 
twill of the buttonholing touches the top of the 
stitches just made. If this stitch is used on the 
outer scallop it will be necessary to hem the material, 
letting the triangular buttonholing form the edge. 
Then there are fancy forms of buttonholing that 
are used especially in Mount Mellick work. The 
double buttonhole stitch is effective to fill in the 
large leaves. The stitches are taken in groups of 
two, then a little space and two more stitches. Con- 



144 NEEDLECRAFT 

tinue in straight rows. Sometimes one will see a 
leaf worked one half in double buttonholing and the 
other half in a close stitch. 

The honeycomb or mesh is a fancy name for 
another form of buttonholing. Work a row of 
buttonholing about a quarter of an inch apart. 
The distance may be changed to suit the design 




Fig. 128. The honeycomb stitch 

you are working on. In the second and all other 
rows, the needle is over the buttonhole loop directly 
above and a short stitch taken a quarter of an inch, 
or the distance you have decided on, below the loop. 
In starting each row bring the needle up a quarter 
of an inch, or more or less as you desire, below the 
previous row. The distance must be kept even 
to achieve satisfactory results. It is not necessary 



NEEDLECRAFT 145 

to start from one side always. The first row is 
worked from left to right, the second from right to 
left and so on, back and forth, till the space is 
filled (Figure 128). 

Bermuda fagotting is the name of a stitch that 
gives the effect of drawn work, when no threads 
have been drawn. It is used on scroll designs as 
well as to outline a simple floral pattern. Lawn, 
dimity, China silk, handkerchief linen, or nainsook 
are the prettiest materials for this stitch, as it de- 
mands a fine, transparent background to give the 
right effect. 

Sewing cotton No. 100 or 150 
and a special needle are the only 
requirements for this work. The 
needles can be bought from any 
art needlework shop for five cents 
each. It is like a large-sized 
carpet needle with a small eye. 
A carpet needle can be substi- 
tuted if it is not possible to 
obtain the regular needle in your locality. Tie 
one end of the thread to the eye of the needle. 
While practising this stitch it will be necessary 
to make guide lines. On each side of the design 
line make a row of dots an eighth of an inch apart. 




Fig. 129. Diagram of 
stitches 




146 NEEDLECRAFT 

The dots above the Kne must be directly over the 
lower dots. Note the diagram (Figure 129) of this 
stitch. I have numbered the first six dots. 

Take a stitch from one to three and tie the end 
of the thread under this point. Make the stitch 

a second time from these points, 
pulling the material between 
them closely. Pass the needle 
underneath and connect one and 
two with two stitches. Then 
^\l^ns^Mr^lirJ. pass to point four and connect 
^**^°^ two. Three and four are con- 

nected in the same manner. It is only necessary to tie 
the thread when commencing the work or a new thread. 
The needle is so large that it makes quite a hole in the 
material and the thread is so fine that the manner of 
working is not clear to the average eye unless a de- 
tailed explanation is given (Figure 130). 

When working on a curved line or a corner it 
will be necessary to make an extra stitch on the outer 
or longer side only. 

The scroll lines or stems of a conventional shirt- 
waist design are more dainty when made in Bermuda 
fagotting. The corners of handkerchiefs or a design 
on underwear or yokes and collars lend themselves 
to this style of adornment. 



XIV 

SATIN-STITCH AND MARKING 

THE more interested we become in em- 
broidery the more we find how much more 
there still is to be learned about it. 
There may be embroiderers who are experts in 
one branch of the subject and yet who will do very 
unsatisfactory work in another. For instance, one 
girl may be very proficient in fancy stitches and yet 
may not do the simple stitches or vice versa. Few 
American girls excel in the satin-stitch, not because 
it is hard, but it must be perfectly accurate. The 
average German, Swiss or French child can do better 
satin-stitch at the age of twelve than 
the average American woman does. 
From the time the children in those 
countries can hold a needle in their 
hand they are taught to sew and em- 
broider. Fig. 131. A letter 

Satin-stitch is a stitch that is taken 
over and over across a space. Sometimes it is quite 
heavily padded and at a first glance gives the ap- 

147 





148 NEEDLECRAFT 

pearance of a piece of material heavily raised. 
Fine designs should, however, be slightly padded. 
There are three ways in which padding may be 
done. There is the running or un- 
even darning, the chain, or the 
filling-stitch. A great deal de- 
pends on the smoothness of the 
padding. The chain-stitch should 
only be used for coarse work. The 
padding should not cover the 
stamped outlines, for they are 
Fig. 131A. Satin-stitch needed as a guide for the satin- 
stitch. The padding is usually worked in a heavier 
thread than the outer stitches. Darning cotton 
that comes in four strands is often used, 
two strands is sufficient. 

The prettiest satin-stitch is taken straight 
across. The stitches should not be crowd- 
ed, but should be worked so that when the Satm stiteh 
embroidery is finished the stitches are hard 
to distinguish one from the other. 

The Old English letter "E" (Figure 131) shows 
a good example of satin-stitch and outlining. The 
latter was used on the single lines. The entire 
letter may be carried out in satin-stitch by first 
running the single lines with uneven darning stitches 



One or 





Fig. 132. Satin-stitcliing 
and seeding 



NEEDLECRAFT 149 

and then covering these with fine satin-stitches. 
Make the padding stitches as close together as pos- 
sible, or the satin-stitches will be uneven. 

The letter "C" (Figure 132) offers an op- 
portunity of combining two 
colours. After the satin-stitch 
has been done, a little back 
stitch is worked through the 
centre of the heavily padded 
sections. This combination of 
stitches is pleasing when colour 
is used, as the satin-stitch is in 

one colour and the centre stitches in 
another. A great many of the reg- 
ular sewing stitches can be used in- 
stead of the embroidery ones. For 
the very fine lines, back-stitching 
can be used, making the stitches 
finer than those used in ordinary 
sewing. 

The letter ''A" of Figure 133 shows a good com- 
bination of satin-stitch and back-stitching. 

Satin-stitch can be worked straight across or on 
the slant. Most of the modern work is straight, 
though a great many Germans still prefer to slant 
their stitches. The work should be held toward 



C 




Fig. 133. Satin-stitch 
and back-stitching 



150 NEEDLECRAFT 

you and the needle straight. The padding should 
be worked lengthwise on the design and the satin- 
stitch in the opposite direction. 

The Chinese do beautiful embroidery, usually 
in satin-stitch which is not padded and the iSnest 
of silks are employed for the work. 

Another way of marking is to make a row of 

French knots along the outline design. A single 

line script letter lends itself best to 

// ft \ this kind of work. 
// a \ i 1 •, For bath towels an outlined let- 



I I t/ < I I 



ter is better than a padded one. 

// / The letter on a school bag or a 

C^y^^ heavy Turkish towel should be 

Fig. 134. A simple let- vcry simple as the wear they get 

ter in back-stitching i t <» 

does not warrant the spendmg of 
too much time on them. If there is a monogram 
to be made it is prettier if the initials of the Chris- 
tian name be light and the surname heavy. 

We learned about outlining in the first chapter 
of embroidery stitches, but outlining in combination 
with outer stitches is a little surprise for you. 
We have the German to thank for most of the good 
combinations of stitches or letters. After the letter 
has been outlined in white, we will say, a thread of 
colour is taken. Starting from the upper left-hand 



NEEDLECRAFT 



151 



side the needle is passed under the first stitch of 
the outHning, up through the second stitch and down 
again through the third, 



XSt'-O'-^^OT' 



7 




Fig. 136. A 
letter in fancy 
stitch 



till every stitch has 

been taken up on the 

needle (Figure 135). 

The threaded needle ^^^* ^^^' ^ pretty combination stitch 
should not pass through the material 
except at the beginning and end of each 
line (Figure 136). 

Another manner in which a letter may 
be embroidered, especially an old Eng- 
lish letter, is to work it solid in white 
and outline it in colour. The Van 
Dyke point is good also where 

broad space is to be filled. It is 

sometimes called the bird's-eye 

stitch. 

Start at the top and on the left 

side of the letter or space it is to 

fill. Insert the needle on the right side and take a 

stitch to the centre on a slant like a buttonhole 

stitch. Fasten to the material with a little short 

stitch. Bring needle out at the extreme left and 

repeat directions until the space is filled. Each 

stitch forms a V (note Figure 138). 



a 



Fig. 137. A simple 
way to work a letter 



152 NEEDLECRAFT 

Sometimes you will find a very elaborate letter, 
the outline of which has been worked in satin- 
stitch or French stemming. Little eyelets or satin- 
stitch dots are worked 
between the lines. 

When two or more 
letters intertwine they 
are called a mono- 
gram. It is not every 
set of letters that 
will make good mon- 
ograms. Letters that 
have a good swing 
should be selected so 
that though they in- 
tertwine each letter 
should stand forth 
clearly. It is permis- 
sible to use the sur- 
name initial a trifle 
larger than the Chris- 
tian initial. When 

Fig. 138. Van Dyke stitch 

^ ^ monograms are com- 

posed of three letters and one of the smaller letters 
is placed on either side of the larger one the effect 
is very pleasing. The smaller the letters, the finer 





Fig. 139. A letter in 
Van Dyke stitch 



NEEDLECRAFT 153 

the thread should be. No. 50 or 60 marking cotton 
can be used for letters one half- inch in size. A 
three-quarter inch letter should be 
carried out in No. 45 marking cot- 
ton. A one-inch letter requires No. 
35 cotton, while the two-inch letters 
take No. 30 and so on. The larger 
the letter the coarser the cotton. 
The beauty of a monogram is to 
have something original. Perhaps 
you want to work your bag. Take a tea cup 
and place on the material in the position you de- 
sire the monogram. Run a faint pencil line 
around the cup. Draw a block letter in the cen- 
tre so that it touches the upper and lower edges of 

the circle. Your two Chris- 
tian initials are then placed 
one on each side of the 
centre letter. Try to fit the 
letters so as to keep the cir- 
cle perfect. It may be you 
will not really draw block 
^' * ^^ °^ letters, but so much the bet- 

ter, as the monogram will be more original. If it 
is impossible to make a complete circle with the 
letters, embroider the sections of the circle between 




154 NEEDLECRATT 

the letters in stem-stitch. Stem-stitch, you will 
remember, is an outline-stitch covered with the over- 
and-over or small satin-stitch. 

A monogram of this sort is especially appropriate 
for a man's handkerchief. A twenty-five-cent piece, 
or a fifty-cent piece if it is a very large handkerchief, 
should be used for the circle. Seeding (Figure 
13 9A) may be combined with satin-stitch in working 
monograms. Seeding is nothing more than a series of 
little back-stitches. A good effect is obtained by 
working one letter in satin-stitch and the other in 
seeding. It will be necessary to outline the outer 
edges of the seeded letter. 

You have probably noticed the gold emblems and 
lettering on the sleeves of army officers' regimentals. 
They are generally worked in bullion, though some- 
times gold thread is used. Bullion comes in gold and 
silver and at the first glance looks like the Oriental 
gold or silver threads. The difference is, however, 
that bullion is tubular, while the threads are usually 
composed of two or three strands twisted together 
or over and over a thread of red cotton. The red 
cotton makes a strong foundation for the gold threads 
and, by the way, do you know that all silk that comes 
on spools has a fine thread of cotton running through 
the centre.'^ The purer the silk the less cotton is 



NEEDLECRAFT 155 

used, but the latter is very necessary, as the threads 
will not stand very much strain if they are all 
silk. 

Now let us get back to emblems in bullion. It is 
necessary in bullion work to have a fine cardboard 
foundation which is called "the cartoon." Trace 
your design on the cardboard and then cut the design 
out. Baste the cartoon to the background, which 
may be of any material you desire. Broadcloths, 
silks, satins, and velvets are the materials usually 
selected for the work. Thread a fine needle with a 
piece of silk. Fasten the thread on the wrong side 
of the material and bring the needle up through the 
right side. Let us suppose that you are working the 
block letter A. Start from the apex of the letter. 
Cut a piece of the bullion just the size of a very small 
bead. Slip the needle through the cut piece of 
bullion and span the point of the letter. Continue 
in this manner till the cardboard is closely covered 
with the bullion. Each piece of bullion is cut to 
fit the space it is to cover. 

In working a five pointed star, start and pad each 
section lengthwise, if it is to be embroidered in silk 
or cotton. For bullion work the cartoon is always 
necessary. 

Work each section of the star from the point to 



156 NEEDLECRAFT 

the centre. Work from left to right, so that each 
section that is worked is to the left. 

Papier-mach6 letters can be bought that may be 
used as a padding. They are very satisfactory for 
anything that is not to be laundered, but continual 
washings flatten the papier-mache, while if the pad- 
ing is made of cotton it lasts as long as the 
background. 

Handkerchiefs for yourself can be daintily marked 
in very fine feather-stitching in D. M. C. marking 
cotton No. 80. Remember to keep the stitches 
in a pretty slant. 

There are numerous places that a letter or mono- 
gram can be used. A girl I know who is at a board- 
ing school has marked all her bed linen and towels. 
For each pair of sheets and two pillow cases she 
uses a different style letter or monogram so that her 
linen is in sets. 

Cross-stitching is appropriate for bath towels, 
although face towels are often very attractive worked 
in this stitch. 

The question often arises as to which is the 
right place to put a letter or monogram on a 
table cloth, napkin, pillow case, or sheet, and 
though you may not be interested in any of 
these articles at present, it is well to know these 



NEEDLECRAFT 157 

little points when helping to mark the household 
linens. 

Napkins are usually marked with the letter in 
the direct centre when folded. Of course, like 
many other things, there are fads for changing 
the position. One extreme style is to mark the 
letter in the direct centre of the napkin. This 
style necessitates folding the napkin in a fancy shape 
so that the embroidery will be seen at its best advan- 
tage. 

There are two good ways to mark a table cloth. 
One is to place the lettering midway between one 
corner of the table and the hem. When the cloth 
is on the table the letter is below the top. The 
second and newer way is to have the letter on the 
top of the table on a line with the plates. If two 
sets of letters or monograms are used place them at 
diagonal corners. 

On sheets the letters should be placed two and a 
half inches above the hem. The letter is worked so 
that when the sheet is folded back the base of the 
letter is toward the foot of the bed. 

Pillow cases or towels are marked in the centre of 
one side, two inches above the hem. 

Again let me impress upon you not to embroider 
white washable material in silk, thinking that be- 



158 NEEDLECRAFT 

cause silks are more expensive they are better. 
Silks are apt to discolour in laundering. Cottons 
are now manufactured that have a high gloss like 
silk and yet they never discolour. 



•"♦♦«0«»i,««*S<»»*»*" 




Fig. 140. A handkerchief comer in satin-stitch 

Another pretty and new way to mark letters 
on lawn or fine linen handkerchiefs is one that gives 
the effect of Bermuda fagotting 'and yet it is only 
hemming with a large needle (Figure 140). Draw 
the letter in pencil on the handkerchief. Thread 
a large tapestry or chenille needle with a piece of 
No. 200 linen thread. Cotton thread may be used 
but it is very apt to break. Tie one end of the thread 




NEEDLECRAFT 159 

to the eye of the needle so that it does not sHp out. 
Thread another needle with a strand of No. 8 
marking cotton and pass it to the back at the be- 
ginning of the letter. Unthread the needle, allowing 
a half inch to extend out of the back. Let the No. 8 
cotton follow the lines of the letter and 
take a stitch into the material with 
the large needle. Work from right 
to left, holding the No. 8 cotton 
from you. Pull the jSne thread tight 
around the stitch you have taken. Fig^TITA simple 
Now pass your needle around the i^^er for towels 
same group of threads of the material, holding 
the stitch over the heavy cotton. Work around the 
entire outside of the letter, then turn and work tlie in- 
ner line. Stitch again through the hole already made, 
taking up the same group of threads. Sometimes 
this style is called ladder-stitch, as the heavy cotton 
gives the effect of the side of the ladder and the 
groups of threads represent the rungs. Any design 
that is uniformly narrow can be carried out in 
ladder-stitch. 



XV 

EYELETS AND FRENCH KNOTS, BULLION STITCH, AND 
OTHER FANCY STITCHES. 

THE most beautiful of the embroidery stitches 
is the eyelet, and it is also one of the hard- 
est. A piece of embroidery that is thickly 
covered with eyelet-work and possibly a. little satin- 
stitch and buttonholing is commonly termed 
Madeira embroidery. One will often see a piece 
of the Maderia embroidery so closely covered that 
it is almost impossible to put another stitch in 
between the embroidered spots. About fifty years 
ago it was a matter of impossibility to buy machine 
embroidery, and eyelet-work was one of the last 
things made by machine. It was an easy matter 
to distinguish the hand-work from the machine- 
work up to about five years ago. A certain regulari- 
ty of the stitches and the kind of thread used pro- 
claimed it machine to even the amateur. Now-a- 
days the crafty manufacturers stamp the material 
to imitate the hand-made embroideries and use a 
thread of the same quality so that sometimes the 

160 



NEEDLECRAFT 161 

professional embroiderers find it hard to distinguish 
it from the real. 

If you should ask a boy who has watched his 
mother working one, what an eyelet is he will prob- 
ably tell you that it is cutting holes in the material 
and sewing them up again. To his mind this is a 
great waste of time. 

Besides being or- 
namental, the eye- 
lets often play an 
important part. 
They are used to 
run ribbon through 
in corset covers, 
night - gowns and 
other pieces of un- 
derwear, as well as 
on bags, baby bootees, (Figure 142), caps and car- 
riage covers. No machine beading can impart the 
elegance that a well-made eyelet does to a personal 
garment. Eyelets can be either round or oval. For 
a small round one run a tracing thread on the outline. 
Let each stitch take up but one or two threads of 
the material. Use No. 35 or finer marking cotton 
for small eyelets. With your stiletto pierce a hole 
in the outlined edge till it is just the size of the 




Fig. 142. Baby's bootees 



162 



NEEDLECBAFT 




stamped eyelet. Now with the same thread sew 
around the opening with close over-and-over stitches. 
The stitches should only be the width of the stamped 
line (Figure 143). They must be even, else you 
will have a *'Pig's-eye." 

For the large round eyelet, as 
well as the oval, in all sizes it will 
be necessary to cut the material 
within the outline which has first 
been traced with the running 
thread. The cuts should be made 
lengthwise and crosswise, right to 
the tracing thread. The cut ma- 
terial is turned under to the wrong 
side and the eyelet worked as just de- 
scribed. After the embroidery is finished 
turn the material over and any part of 
the cut cloth that extends beyond the ^. ,,, ^^ 

* Fig. 144. The 

stitches trim ojBF. Your fine embroid- ^ound eyelet 
ery scissors should be used for the cutting. 

Sometimes you might like to make an eyelet to 
represent a grape. Some embroiderers call it a 
shaded or padded eyelet. After the eyelet has 
been traced make another row of tracing or padding 
below the lower half of the eyelet. Start from the 
centre side of the eyelet and make the second 



Fig. 143. The way to 
work an eyelet 




NEEDLECRAFT 



163 



tracing deeper on the lower portion of the eyelet. 
If any space is left between these two rows of 
tracings fill in with other rows of un- 
even darning (Figure 144A). 

When eyelets are used on the outer 
edge of a design, they should be but- 
tonholed. 

The next stitch to claim our attention 
is French knots. In France they are 
known as the English knot. They are used to fill in 
the centres of flowers. When working a piece of 




Fig. 144A. 
A padded 
eyelet 




Fig. 145. A simple centre piece in eyelets- 

golden rod the natural effect is best produced by 
using French knots very close to each other. A 



164 NEEDLECRAFT 

row worked on each side of a row of feather 
stitching makes a pretty decoration on babies' 
dresses, caps or even on yokes of dresses for your- 
self. 




Fig. 146. An eyelet design for a pillow 

A heavy thread is good to practise making the 
knot. The actual size or kind of thread to use 
should depend partly on the kind of material and 
partly upon the other style of work or stitches that 
you intend combining with it. 

To work the knot, fasten the thread securely on 
the wrong side and bring the needle through to 
the right side. Now hold the thread down with 
your left thumb. With the right hand put the 
needle over and under the thread until there 



NEEDLECRAFT 165 

are three or four coils of the thread around the 
point of the needle. Now hold these coils down 
with the left thumb. Turn the needle so that its 
point will go down through the material as close as 
possible to the place through which it came 
(Figure 147). 

A pretty idea for making knots for dress trimmings 
is to thread the needle with two 
strands of silk, each of a different 
colour. 

Bullion stitch is an elongated 
French knot. It is used consider- 
ably in Mountmellick embroidery, 
to represent grains of wheat. Small 
leaves and daisies are oftentimes 

carried out in bullion stitch. Fig. 147. French knots 

To make the stitch we will say that we are work- 
ing on the conventional daisy. Bring the thread 
up to the base of the petal. Insert the needle so 
that the length of the petal lies on top of it. (See 
Figure 148.) Twine the thread around the 
needle point until there are as many coils as the 
length of the petal. The left thumb should hold 
the coils in place while you are twisting them. The 
needle is now drawn through the material. It is 
put through the same hole, or as near as possible 




166 NEEDLECRAFT 

to the one from which it came. Keep the left 
thumb holding down the coils until the stitch has 

been fastened. 

Another way to accomplish 
bullion stitch, which has the 
same appearance, but which 
really is a very much slower 
method, is to lay a heavy thread 
the length of the stitch desired 
and then neatly wind the cot- 
ton over it. It requires a heavy 
cotton to work this successfully. 
An embroidery needle should not be used for 
either French knots or bullion stitch, as the eye 




Fig. 148. Bullion-stitch 




Fig. 149. An elaborate piece of buttonholing and satin-stitch 

is apt to stick when pulling it through the 
coils. A large sewing needle should be substi- 
tuted. 

Any girl can make dainty and original designs for 
eyelet work if she will invest in compasses. As 



NEEDLECRAFT 167 

has been stated before, eyelets vary in size. The size 
that is most effective for decorating heavy Hnen 
or cotton is an eyelet a little less than half an inch 
in diameter. A larger eyelet is often used, but it 
requires a good deal of patience and experience to 
keep it in shape. 

With the compass hundreds of designs may be 
used. The most popular as well as being the most 
attractive is the simple daisy. A circle is drawn to 
represent the centre. A quarter of an inch over 
from the centre circle, or less if you wish to, draw 
six other circles so that they form a ring around 
the centre dot. 

A design such as this can be used on a rufHe of a 
petticoat or between tucks on dresses while for a 
whole linen piece there is nothing handsomer for 
a scalloped or hemstitched centre piece, doily, bureau 
cover and many other articles on which a bold^ open 
effect is appropriate. 

The Wall-of-Troy design is a good one for com- 
pass work, only it is suggested to faintly rule the 
design then inscribe the circles so that their centres 
are on the line. For instance, suppose you want to 
make a border design about an inch and a half deep. 
Take your rule and keeping on a straight thread of 
your material draw a two-inch line, then leave a 



168 NEEDLECRAFT 

space, then draw another line, so on to the end. An 
inch and a half above these lines draw another row of 
lines just over the spaces of the first row. Connect 
the ends of the lines together. Plan so that there is a 
circle at the points or corners of each line. Between 
these dots on the horizontal lines make two more 
circles, while on the vertical lines make only one. 
These instructions are for a circle the size described; 
for a smaller eyelet it will be necessary to add 
more circles to the lines. 

A still simpler design is one that is made on a 
square, that is, with a dot at each corner and one in 
the direat centre. The dots must be kept the same 
distance apart. 

The Italian girls will make the most elaborate 
designs of compass work on strips of firm, heavy 
muslin for ruffles for underwear. They are not 
like the American and French girls, who will only 
wear the sheerest kind of light material. The ad- 
vantage the Italian girl has over her French and 
American sisters is that when she embroiders a 
garment it lasts for years, even if it is constantly 
used, while delicate embroidery is apt to have a 
very short life on account of the background. To 
the American girl this is no drawback, as she is 
always craving for new things. 



NEEDLECRAFT 169 

Sometimes a thimble, spool, or even a twenty-five 
cent piece is used instead of the compass when a 
large eyelet is required. 

An edge of eyelets is very handsome on a collar 
and cuff set or handkerchief. They should be placed 
so that after they are worked they touch each other. 
The entire eyelet may be carried out in button- 
holing or the lower half may be buttonholed and 
the top worked in the regular way. After the work 
has been completed dampen the edge and press 
before cutting out the material from underneath 
the lower edge of the eyelet. 

It is possible to work the eyelet without any 
buttonhole stitches and yet use it for an edge. In 
that case a little padding is required and the stitches 
should be close together. 

A linen hat that has a simple scallop edge and a 
simple design on the brim and crown is a treasure 
that usually only the wealthy enjoy. It is nice 
to know how to embroider, but unless we put to use 
the things we know our knowledge is like a white 
elephant on our hands. After a careful study of 
the diagram of the stitches you desire to make and 
reading the description as to how to make it, a 
little child could almost work a hat, but the mounting 
of a hat is not so simple. Yet, what is the use of 



170 NEEDLECRAFT 

taking time to embroider one if you do not intend 

to make it up? 

Eyelet work is particularly dainty on a hat as 

it gives a lacy eflFect. 
/f: o' \'\-^^^k The material should be 
^^^^^^^^/^Wi ^ medium weight linen 




so as not to be too stiff. 
At one time butcher's 
linen was thought to 
Fig. 150. A Ungerie hat be the Only kind to 

be used, but of later years a softer linen is pre- 
ferred. Lingerie hats have been used for years, 
probably long before you were born. Every year 
the shape varies a little. One year it is a narrow 
brim sailor, next year it is a wide brim, then again 
a high, next a Tam-o'-shanter crown. The last 
four years it has been the mushroom shape. For 
most faces there is nothing more becoming and 
girlish than the latter (Figure 150). 

Sometimes the mushroom shape is covered with 
hand-embroidered ruffles, while again a circular 
piece having the crown cut out is used. The size 
of hat varies by what fashion dictates, so it is hard 
to say just how large your linen should be cut. A 
twenty-two or twenty -four inch circle makes a neat 
little shape. 



NEEDLECRAFT 171 

After the embroidery has been worked as described 
in the first part of this chapter, the frame is prepared 
for mounting it. A wire frame is Ughter and more 
satisfactory than a buckram frame. 

The first thing to decide is, how are we going to 
face the hat.^^ Tucked ruffling, net, dotted swiss, 
or fine ruffles of Valenciennes lace may be used. 
Most people prefer to cover the entire frame with 
cheap, fine lawn before facing or covering the hat. 

This is done by placing the hat on the lawn, the 
brim touching the material, and cutting a circle a 
trifle larger than the brim. Cut a circle out for the 
crown and slip the lawn over the frame. If the 
crown is too large to allow the lawn to be slipped 
over it a wide bias band of the lawn can be used to 
cover the brim. The bias strip should be just the 
depth of the brim. For the crown, cut a circle large 
enough to cover the top and use a bias band around 
its sides. 

Tack the muslin to the frame by long basting 
stitches. It will be necessary to pass under the wire 
when taking a stitch to keep the material in place. 
The tucked ruffling can be bought by the yard, 
trimmed with a row of narrow lace. The entire 
thing is banded. To adjust a ruffling of this sort 
place the band around the edge of the crown and 



172 NEEDLECRAFT 

tack the ruffle in position at short intervals and at 
the extreme edge of the brim. 

Net or dotted Swiss is pretty shirred or corded 
or even put on plain. A strip three times the 
length that it would take to go around the brim 
plain is cut the depth of the brim. This band is 
cut on the straight of the goods. A shirring string 
is run on both sides. The strip is placed in 
position and pinned taking care to distribute the 
gathers evenly. The shirring string under the crown 
is pulled up first and the material over-handed to 
the frame. The gathering thread on the outer edge 
of the brim is also adjusted like this, only instead of 
over-hand stitches, fine running stitches are pref- 
erable. Then a small heading is made on one side 
of the strip that is to be shirred. The heading 
makes a pretty, soft finish at the edge and does not 
require any great length of time to do. Allow 
three quarters of an inch, or more, in the depth of 
your ruffle if it is to have a heading. Turn one 
edge of the material to the wrong side. The turn 
should be a little more than a quarter of an inch 
deep. The gathering thread is run a quarter of 
an inch from the folded edge of the material. When 
the thread is pulled up the heading is formed. 

If the material is to be corded, baste a narrow 



NEEDLECRAFT 173 

round cord like a corset lace inside the material. 
The cord is placed where it is desired and the material 
is folded over it as for a tuck. A running thread 
is worked close to the cord to keep the two pieces 
of material together. The threads are afterwards 
drawn up to bring the fulness of the ruffles to fit 
the outer edge of the hat. 

Three rows of cording are quite sufficient on the 
edge and the other two rows at equal intervals 
from the outer brim to the crown. 

The ruffles of Valenciennes lace are adjusted by 
pulling the drawing string on the edge of the lace, 
and basting the first row of lace on the extreme edge. 
The second row just touches the first, and so on, 
filling as many rows of lace in as required. 

The embroidered piece is then washed and the brim 
placed. The edge is tacked at intervals while around 
the crown the stitches are taken very close together. 

The Tam-o'-shanter crown is pulled in shape by 
a gathering thread, if it is cut in a circular shape and 
the gathering is all on the edge. Cut the circle large 
enough to make a pretty Tam-o'-shanter. 

The embroidery decoration may be in the direct 
centre of the crown. If the design is a small one 
it can be scattered over the crown to give an all 
over effect. 



174 NEEDLECRAFT 

There are many ways that a Hngerie hat may be 
trimmed and it is hard to say which is the prettiest. 
A black ribbon band and a bow is simple but severe. 
White taffeta ribbon may be used the same way if 
an all white hat is wanted. In fact any shade 
of ribbon is attractive used like this. The illustra- 
tion shows a pretty way of trimming a lingerie hat 
for a girl of about fourteen. A narrow coloured 
ribbon is used around the crown and a rosette of 
leaves with rose buds and forget-me-nots is at- 
tractively placed on one side. 

Sometimes coloured linen is used for the hat and 
in that case the embroidery may be worked in the 
same shade as the linen; or white. The hat is then 
trimmed with white or black. A coloured hat is not 
as practicable as a white one, as the former is apt 
to fade and may not be as becoming as the white. 

A baby's buttoned hat is made of two circular 
pieces scalloped out at the edges, one piece being 
four or five inches smaller than the other. The 
large one is used for the brim. The head size is 
cut out of the direct centre and then bound in tape. 
Three inches from the crown opening sew a circular 
row of buttons, a half inch apart. Use a washable 
linen, lace, or crochet button for this purpose. 

One inch from the edge of the crown make as 



NEEDLECRAFT 175 

many buttonholes as you have buttons. A pair 
of daintily hemstitched strings that are attached, 
one on each side of the crown opening, completes 
this charming little hat. It can be easily unbuttoned 
and laundered flat. These hats are made of duck, 
pique or heavy linen. They are the nicest thing 
you can make for your little sister for the summer 
when she wants to play in the sun. 



XVI 

LONG AND SHORT, KENSINGTON EMBROIDERY, AND RIB- 
BON WORK FOR SIMPLE FLOWERS 

IT IS the ambition of every one who starts to 
embroider to make a piece of flower work and 
though the floral designs are most fascinating 
to embroider they are by no means as artistic as 
the conventional. 

The way to embroider a piece of flower work and 
obtain an original colouring is to get a natural 
flower and place it in a vase in a position that you 
can clearly see the light and shadow. The best 
flower to start with is a daisy. Note that the 
petals are not a dead white, but there is a suggestion 
of green toward the centre of the flower. Get 
mercerized cotton to work with at first until you 
become accustomed to the stitch. 

There is no cut and dried rule in regard to the 
colouring, but the art of shading a piece naturally is 
a lesson that is very essential for the embroiderer. 

To many people the term embroidery means flower 
work and only after a course of instruction they 

176 



NEEDLECRAFT 177 

discover for themselves how much more artistic 
and in keeping with most rooms is a conventional 
design. 

Flower work, however, is not to be despised as 
you will learn more about colour combination and 




Fig. 151. Long and short stitch 

Kensington stitch in one piece of this style than any 
kind of embroidery. 

All flower work has long and short stitch on the 
edge of the petals or leaves that do not turn over. 
Daisies do not have turn over leaves as often as a 
double rose or chrysanthemum. Suppose we draw 
a very large daisy on a piece of white muslin. With 
your needle threaded with white lustre start from 
the right-hand side. Take one stitch on the line. 



178 NEEDLECRAFT 

Place your needle back near the same point from 
which you started. Take a short stitch that goes 
a wee bit outside of the stamped line past the first 
stitch. The object of going beyond the line, is that 
the stitch completely covers the stamping. 

The third stitch is taken at the same slant, only 
longer. The fourth is a short one and so on, first 
one short and then one long until the top of the petal 
is reached. Remember, though, these stitches are 
only on the edge. The left half is worked the same, 
but the stitches slant a little differently. A good 
rule to mention right here is, that all stitches should 
slant to the heart of the flower. In leaves they slant 
toward the base. The inside of the petal, when the 
long and short stitches are completed, should be 
irregular (Figure 151). 

The Kensington stitch gets its name from an 
English school of embroidery. It is more like out- 
lining than any other stitch. 

After the edge of the flower has been worked in 
long and short stitch, the Kensington stitch is used 
to give the solid effect. 

The piece must be held all the while in a tight 
fitting pair of hoops so that it can not sag in the 
least. 

If the petal is long, two or three rows of Kensing- 




Fig. 152. The Kensington stitch 



NEEDLECRAFT 179 

ton stitch will have to be worked to fill it in. If 
silk is desired, two strands are used for the edge 
and one strand for the 
Kensington stitch. The 
stitches are dovetailed in- 
to each other. Each row 
must have an irregular 
lower edge, else they will 
look like bricks laid one 
on top of the other. The 
stitches should be so 
worked that it is diffi- 
cidt to tell where one ends and the other begins 
(Figure 152). 

Three shades of green are sufficient for the leaves 
until you are quite expert. In working them em- 
broider on the edge of the lower half of each leaf 
with the second shade and the upper part with the 
lightest. Work one side first using the second shade 
under the lightest and the third under the second. 
Work to the midrib only. It is not necessary to 
to work in the veins, but if they are desired they 
are put in after the leaf has been worked. Do not 
hesitate to cover the stamped veining on the leaf 
you are working, as the next leaf will be a guide to 
where to place the veins. They may be in the light- 



180 NEEDLECRAFT 

est or deepest shade of green, while sometimes a 
reddish-brown is substituted. 

The centre of the daisy may be satin-stitch or a 
cluster of French knots. If the dot is worked from 
the centre to left and from the centre to right you 
are more apt to get a perfect outline than when 
starting from one side and working to the other. 

As a usual thing the lightest shade is on the outer 
edge of most flowers, but there are a few exceptions, 
like wild roses and some species of pansies in which 
the deepest shade is on the edge and toward the 
centre it is lightest. 

The stems may be worked in satin-stitch or 
Kensington in wood shades or deep greens, which- 
ever give the more realistic effect to the flower. 

It is a great mistake to use white for the back- 
ground of flower work. Cream or pale gray make 
a very much softer and more pleasing effect. 

Sometimes a little of the stem brown can be 
worked into the leaves. 

Have you ever seen a lace spread or centre piece 
with flowers embroidered on it.^^ You might think 
that the worker was more than ordinarily clever, but 
really any one who can embroider flowers can do 
this. Baste a piece of fine lawn on the section you 
desire to embroider and stamp it with a spray. 



NEEDLECRAFT 181 

Embroider in the usual way and when the spray 
is finished neatly cut away any of the lawn that 
extends beyond the flower without cutting the lace. 
The result is that the piece has the eflEect of a natural 
flower resting upon it. 

The finer the silk used the more delicate shading 
can be accomplished. 

There is another way to represent flowers that is 
particularly beautiful. It is known as ribbon work 
or rococo embroidery. The ribbons especially 
made for this work vary from slightly less than 
one quarter of an inch to a little more than a 
half inch in width. The colours do not range in 
such long lines as the silks. In fact it is rare to 
find a shop that carries more than ten colours. 
Sometimes the ribbons are shaded. They are soft 
and do not crease quite as readily as an ordinary 
ribbon. 

A No. 6 crewel needle is about the right size for the 
narrow ribbon, while the half inch ribbons need a No. 3. 

Forget-me-nots, conventional- 
ized small asters, and little roses 
are suitable for the narrow rib- 
bons. Satin, moire, broadcloth, 

_ .„ 1 P .1 Fig- 153. Ribbon flowers 

or heavy silk are used tor the 

background and the daintiest of needle cases, jewel 




182 NEEDLECRAFT 

cases, handkerchief bags, belts, and other little 
accessories may be evolved from a small piece 
of silk and a few yards of ribbon. The design is 
stamped on the background and all the single lines 
or stems outlined with filo silk. Let us imagine 
we are working on a spray of forget-me-nots. The 
needle is threaded with six inches of the narrow 
green ribbon. Slip your needle from the under side 
of the material drawing all the ribbon through but 
a quarter of an inch. One stitch is generally 
sufficient for a leaf, though sometimes the leaves 
are wider and require two or possibly three stitches. 
The ribbon serves the same purpose as silk. The 
one point to remember is that the ribbon should 
not be twisted. Naturally in pulling it through the 
material several times it becomes so wrinkled that 
a short piece works to better advantage than a 
long one. The flower is made in the same way, one 
stitch for each petal and when completed a French 
knot is made in the centre of the flower (Figure 153). 

The ends caused from starting and finishing off 
are fastened or caught down with a piece of 
fine thread on the wrong side. 

Do not pull your stitches. The work is very 
much prettier when it lies soft and full on the 
background. 



NEEDLECRAFT 183 

It is well to make use of every piece of fancy work 
you do and yet sometimes a new thing may strike 
your fancy and you would like to make a small 
piece. 

A card case is acceptable to every girl and it is 
a good plan to make them to match your visiting 
dresses. 

Take a piece of material five by ten inches long. 
Three inches from one of the short edges stamp a 
design that will not occupy a space larger than three 




Fig. 154. A card case 

inches long and two inches deep. The length of 
the design must run parallel with the short edge of 
the material. The bottom of the stamping must be 
five and a half inches from the short edge of the 
material. 

A little spray of lilies of the valley on a green silk 
background makes a dainty case (Figure 154). 

Get a piece of stiff tailor's canvas and cut it to 
measure eight and three quarters inches by four 
inches wide. A piece of china silk the same size 
as the satin will be needed for the lining. It is 



184 NEEDLECRAFT 

best to select the shade of silk that harmonizes with 
the outside material. With a green cover a lining 
lighter or darker is suggested. The latter is preferred 
as the constant iBngering of a light colour is apt to 
soil it. 

Cut all three pieces so that they are true oblongs ; 
two and a quarter inches from the short edge make 
a crease. Two and a half inches from the first crease 
or four and three quarters inches from the outer edge 



I 




1 




• 


1 


p 




! 






1 



Fig. 155. The foundation of the card case 

make another crease and cut along it, thus separating 
the stiffening in two. 

Two and a half inches on both sides of the now 
short edges of the piece that is not creased draw a 
line from side to side and crease. 

On the extreme right-hand side measure down 
one and a half inches from the corner and make a dot; 
measure up from the lower corner and make another 
dot. The space between the dots should measure 
one inch. Take a twenty-five cent piece and place 



NEEDLECRAFT 185 

on the space between the dots so that the edge of 
the material is under the direct centre of the quarter. 
Make a semicircular curve on the canvas around the 
quarter. Cut along the pencil lines (Figure 155). 
The stiflFening now ready, baste it to the lining. 
See that all creases have been smoothed out of the 
China silk lining before basting. Place the two 
pieces of canvas so that there is an equal margin on 




Fig. 156. The canvas interlining 

all four sides. The cut edges of the canvas must be 
placed one eighth of an inch apart as shown in the 
diagram (Figure 156). On one side is the 
four and three-quarter inch piece and the other is 
the four inch. Pin or baste the canvas through 
the centre to keep it in position. With a threaded 
needle cat-stitch the silk to the canvas, care being 
taken to see that the stitches do not appear on the 
silk side. Cat or catch -stitching is another name 
for herring-boning, which is explained in the chapter 
on feather-stitching. 




186 NEEDLECRAFT 

Before turning a corner, cut off a small piece of 
material to prevent the corner from being bulky. 
Treat each corner in like manner: when you come 
to the little curved part, slash the material so that 

when it is folded over the can- 
vas it will fit perfectly smooth. 
Fold the canvas and lining 
along the creases originally made 
in the canvas. An iron pressed 
over them will help to make 
them stay in position. 
The embroidered piece 
^ ,^^ ^, . .J ,,, is then placed over the 

Fig. 157. The mside of the ^ 

card case wroug sidc of the cau vas . 

A half -inch turn is made on all sides. Turn this half 
inch toward the wrong side of the canvas. Sometimes 
a layer of cotton batting is laid under the embroidery 
between the canvas and satin. The satin piece is 
basted to the canvas. The folded edge of the satin 
and the folded edge of the silk are overcast with tiny 
stitches. Fold back the two sections of the case and 
over-cast each side (Figure 157). Your card case 
is now completed. 

A bill folder is made in the same way, only that 
the ends are not stitched together to form pockets 
as in the card case. 




NEEDLECRAFT 187 

It is always well to know how to make pretty, 
attractive pieces of needlework that will make ac- 
ceptable gifts for Christmas or a birthday. 

Nearly everybody has a hobby. Sometimes it is 
saving receipts, sometimes keeping newspaper clip- 
pings, and then again it may be keeping theatre 
programmes. It is well to consider what gift is 
most suitable for the one that is to receive it; to 
make for the faddist an 
envelope to keep her 
clippings will be just 
the thing. 

Take a piece of brown 
linen ten and a half inches 
by nine and a half inches. 
Fold it in half so that it 
measures five and a quarter inches by nine 
and a half inches. Stamp a spray of daisies 
or wild roses on one side and mark what the envelope 
is supposed to hold, such as receipts or clippings. 
Brown linen does not soil as easily as white. 
Embroider the flowers and the lettering, then dampen 
the linen thoroughly and press on the wrong side. 
Now take two pieces of cardboard that measure 
eight and a half inches by four and three quarters. 
Cover the cardboard with the linen, use long stitches 




Fig. 158. The way to make an 
envelope 



188 NEEDLECRAFT 

as described in the needle case, except that two 
pieces of the cardboard are placed side by side on 
the brown linen. Now take two pieces of brown 

paper the same size as 
the cardboard and cover 
the stitches. Paste 
should be used to make 
the paper stick to the 

Fig. 159. The envelope linen. 

Make six envelopes by taking six pieces of paper 
nine by thirteen inches and cut a two and a half 
inch square from each corner (Figure 158). One 
inch over from where the squares are cut make 
a star. There are eight such points as you note. 




wr 




Fig. 160. The case completed 



NEEDLECRAFT 189 

Connect the dot to the corner by a Hne. Cut the 
paper along the Hnes. Fold the ends in, then fold 
the bottom flap over these and paste. Fold the 
top flap over without pasting (Figure 159). 

Now, holding these six envelopes in the case with 
bottom edges touching the space between the two 
cardboards, punch three holes through linen, card- 
board, and envelopes. 

Take a half a yard of ribbon and run through the 
holes and tie the ends in a bow on the corner. 

Take another half a yard of ribbon and cut in 
two. Fasten a piece on each side of the cover 
(Figure 160). These two pieces are tied in a bow 
and keep the base of the case closed. 



XVII 

HARDANGER EMBROIDERY FOR SQUARES PIN 
CUSHIONS, AND SPREADS 

WE HAVE to go back to the foreign embroid- 
eries to find those that are beautiful and 
yet substantial enough to last beyond the 
usual life of a piece of fancy work. There is nothing 
we have originated in embroidery on this side of 
the world as rich as Hardanger work, and yet it is 
comparatively little known. The background for 
this work is a loosely woven material like scrim or 
basket weave materials such as Java canvas or the 
regular Hardanger canvas which is imported. 

It is lots of fun working Hardanger in wool on 
Java canvas as it goes so quickly, and after we have 
learned the stitches we can work it on as fine a 
canvas as we desire. 

The simplest stitch is the block. Thread a large 
tapestry needle with a piece of heavy wool. On 
your piece of Java canvas work a little block. The 
worsted is on the right side of the canvas, and then 
taking a stitch over four threads of the canvas bring 

190 




NEEDLECRAFT 191 

the needle up on the next opening to the right on the 
same hne as the first. Five stitches constitute a 
block; a space of four threads is then 
left and the next block started, (Fig- 
ure 161). A great deal of Hard- 
anger has these blocks running at 
right angles to each other with no 

space between the blocks. Mistakes ^ 

cause a great deal of trouble and ^s- i^i- The block 
sometimes it is necessary to rip out quite a lot of 
stitches before they can be rectified and for that rea- 
son you must be very accurate in your counting. 

The star is another favourite figure in Hardanger 
work (Figure 162). Four stitches are taken 

over four threads of the ma- 
terial, side by side, then five 
stitches over eight threads of 
the material and then four 
again. This forms one side 
_ of the star. The second side 
Fig. 162. The star jg j^ade cxactly the same only 

that at the base of the thirteenth stitch the first stitch 
of the second side starts forming a right angle. The 
star has four sides as you will note in the (diagram 
of this stitch. Now count and see if there are twelve 
threads on each of the inner sides of the star. If 




192 NEEDLECHAFT 

you find any mistake go over it and straighten it 
out. There must be twelve threads on each side. 
Cut four from each corner. This will leave four 
threads directly in the centre of each side. With 
a piece of embroidery cotton about the weight 
of a thread of your canvas weave the bars. The 
weaving is very simple, over one and under the next 
till the bars are woven. Some of these bars have 
little knots on the outer centre edge of each. 
They are called picots (pronounced pe-co) and they 
are made somewhat like a French knot. The 
bar is woven half way across and laying the needle 
on the bar the thread is wound around the 
needle point. Hold each twist down with the left 
thumb (Figure 163). The needle is drawn through 

and the result is a little 
knot on the thread near 
the stitches. A little 
stitch is taken into 
the woven part of 
the bar and the thread 
carried over to the 
other side of the 
bar and another picot 

Fig. 163. The picot , 

made. 
For an ornamental stitch to be used on the mate- 




NEEDLECRAFT 193 

rial between the stars or blocks make a diagonal 
stitch hke the first stitch in cross stitching 
(Figure 164). 

Pin cushion tops are easy to make and the follow- 
ing instructions are given for cushions about four or 
five inches square. Take a square of scrim or Har- 
danger canvas eight inches large. It will be neces- 
sary to pull a thread so that the material will be 
quite straight on the edges. Pull out four threads 
about one and a quarter inches from the edge on 
each side of the material. Turn a quarter-inch fold 
on one side and crease the material again so as to 
make a half-inch hem. Baste it down so that it 
just touches the drawn threads. Repeat on the 
four sides. Be sure that at the corner the double 
thickness of drawn threads are exactly over each 
other. We are now ready to hemstitch the hem. 
Thread the needle with No. 90 sewing cotton. 
Run the thread under the hem and holding the 
double part of the hem toward you take up four 
threads of the material. Pass the needle again 
around this group and now into the hem. Con- 
tinue in this manner around the four sides. At 
the corners it will be necessary to take up both 
thicknesses of the material. 

Crease the finished square in four. Count six- 



194 NEEDLECRAFT 

teen threads upon the crease from the hemstitching 
and with lustre No. C or heavy Knen thread " aa " 

make a httle block of 
four strands of floss over 



\ 



Fig. 164. A simple ornamental stitch 



four threads of the ma- 
terial. Make a flight of 
eight blocks each at right 
angles to the other. Now instead of continuing 
in the same direction turn and work seven more 
groups down and to the left. Turn again to the 
left and work seven blocks for the third side of the 
square. Six groups to the right of the third row 
completes the square. 

Now with your fine embroidery scissors cut close 
to the stitches of the three blocks at each corner. 
The cut threads are 
drawn out. Four 
more cuttings will be 
necessary on each 
side. They should be 
made against the 
stitches only; that is, 
the threads that are 
running in the same di- 
rection as the stitches 
should be cut. Figure 




Fig. 165. A good arrangement of picot 



NEEDLECRAFT 195 

165 shows where the cuts were made and the 
threads drawn out. The remaining threads are 
woven. A mercerized or dull finished marking 
cotton is used for the weaving. It may be either 
the plain weaving or may have picots on each 
side of the bar. Another pretty arrangement of 
picots is to place them on one side of the bars so that 
they appear in groups of four each facing the other 
(Figure 165). 

Sometimes a lace stitch is used such as the spider 
or simple loop stitch. Directions for making a 
spider will be found in the chapter on lace stitches. 
The loop stitch is made by taking a stitch in the 
centre edge of each bar. Take a stitch just as if 
you were buttonholing. 

Buttonholing the edge is preferred by many to 
hemstitching. 

A pretty stitch often seen border- 
ing a row of drawn work is made in 
pyramid form. It can be as deep as 
desired. First take a stitch over two 
strands of the material then three, then 
four, then five and down again to two pig. lee. The 
(Figure 166). This stitch must be ^^^'"^^ ''^'^ 
worked of course before any of the threads are 
drawn. 




196 NEEDLECRAFT 

If a little larger and more elaborate square is 
wanted, take a piece of material nine or ten inches 
square. Make a star, skip four threads and work the 
open squares described for the smaller pin cushion. 

On the opposite side of the square, directly across 
from the first star, skip four threads and make an- 




Fig. 167. The Hardanger square pin cushion 

other square. At the other two corners of the 
square make a star (Figure 167). 

The German peasant girls are proud of their 
aprons with a border of Hardanger embroidery. 



NEEDLECRAFT 197 

It is a common thing for them to have a border 
fifteen or eighteen inches deep. Often they will 
make yards and yards of a pattern, say four inches 
wide, and they will insert it above the hems on sheets 
and towels and cut out the background material. 

There is no nation on earth as thrifty as the 
Germans. A German girl I know who is only nine- 
teen years old has her entire bedroom fitted up with 
Hardanger articles that she has made herself. 
First there is the bedspread and bolster, each most 
elaborately embroidered with an all-over design. 
Then there is a round pillow (the edge buttonholed) 
and a square pillow as well as the bureau scarf and 
pin cushion. If she bought the articles already 
worked she would have paid hundreds of dollars for 
the outfit, while the actual cost was only a few dol- 
lars. Nearly all the best of fancy-work shops sell 
small pamphlets on Hardanger work that are not ex- 
pensive and after one is familiar with the foundation 
stitches it is an easy matter to follow the designs 
they give. 



XVIII 

APPLIQUlfc ON LINEN AND OTHER MATERIALS 
AND HEDEBO EMBROIDERY 

APPLIQUE, or laying one material on an- 
other and stitching or embroidering 
them together is one of the simplest forms 
of embroidery that even the Indians years ago knew 
how to do. How many of you have not seen on an 
Indian woman queer shapes cut out of leather and 
ornamented with beads used for a border on her skirt? 

There are two kinds of applique, underlaid and 
overlaid. Most of the work is the latter kind. The 
underlaid is a little more difficult to do. It will 
be explained at greater length later in this chapter. 

Applique is such easy work that you will almost 
think it a mistake not to have heard about it before, 
but after all it is really necessary that we should 
know the simpler embroidery stitches before we 
attempt an applique piece, so that we can decorate 
it in the manner to suit ourselves. 

The European peasants work some of the crudest 
specimens of applique, yet their colour schemes and 

198 



NEEDLECRAFT 199 

choice of material are good. For instance, Russian 
crash, which is sold at the towel department of 
many of our large department stores, from twelve to 
twenty cents a yard, and which is very narrow, 
usually about sixteen inches wide, is often employed 
as the background of their portieres. 

Before the Russo-Japanese War it was possible to 
get Russian crash as wide as forty inches. It is made 
by the peasants in their homes from the waste ends 
left from weaving linens. You have no doubt read of 
how poor Russian peasants live in hovels in the same 
room with the cow, if they are fortunate enough to 
possess one, and their pigs. Necessarily the work 
they do is not very clean but the artistic qualities 
of the crash overcomes the fact of the dirt. 

The better class of peasants will take three strips 
of crash and connect them together with coarse 
sewing or lace stitches and then apply circles of 
broadcloth, or coloured linens on them. Other 
geometrical figures are often applied. 

I heard of a Southern family the other day who 
are so thrifty that they allow nothing to go to waste, 
not even the old coats and trousers that have played 
the double role of clothing the father and then have 
been cut down for Johnny. After Johnny has had 
all the wear possible out of them Grandma again 



200 NEEDLECRAFT 

cuts them, this time in the shape of leaves, and 
sews them on a large muslin circle, one overlapping 
the other. This forms a mat for the dining room. 
I am telling you this story not that you may 
imitate it, but rather to let you know that after all 
we have women here that are as clever and thrifty 
with their needles as the European women. 

For applique work the design is cut out and the 







Fig. 168. A pillow in Hedebo embroidery 

wrong side covered almost to the edge with a paste 
made of starch and water. 

When a complicated piece of applique is to be 
worked, stamp your design on the background. 
Then on the right side of the material to be appliqued, 
or on the wrong side of velvet, lay a piece of transfer 



NEEDLECRAFT 201 

paper. Place the design on them. With a blunt 
pointed instrument go over the line firmly till you 
have a tracing of the design. If the lines are not 
quite clear go over them with a pencil. 

Cut out each piece and paste it to the background. 
The edges may be machine stitched or satin-stitched 
or outlined. A cord, also the couching stitch, makes 
a good finish. 

Very clever representations of animals can be 
made by applique. Take a duck, for instance. 
The breast can be white felt, the head dark green 
velvet. The wings dark brown and the back 
and tail a lighter brown broadcloth. The legs and 
the bill should be canary-coloured taffeta silk. Cut 
each section so that it slightly laps over the 
other. 

Applique underlaid is accomplished by stamping 
the design on the wrong side of the material and 
then cutting it out. The background is left intact 
like a stencil. A piece of material of a different 
colour is laid under the cut piece of material. The 
raw or cut edges may be treated in many ways. 
The material may be turned back and stitched by 
machine or the edges may be finished with button- 
holing stitches, couching, fine satin-stitch or chain 
stitch. The turning back of the cut edges requires 



202 



NEEDLECRAFT 



that they be neatly done or the embroidery will not 
show to its best advantage. 

Hedebo embroidery is in no way connected with 
applique work, but like the latter it is a branch of 
needlework that few people in America understand. 
Without exception it is the most elaborate form of 
white work. The stitches give the eflfect of being 
very difficult, but this is not so. The work requires 
a lot of time and careful planning of the stitches for 
which buttonhole stitch is usually the foundation. 




Fig. 169. An elaborate design in Hedebo 

Hedebo is worked on a jBnely woven linen. The 
design is stamped directly on the material. A 
thread of D.M.C. No. 25 or spool linen thread out- 
lines the figures. Within the design, the linen is cut 



NEEDLECRAFT 203 

one eighth of an inch from the running thread. 
This eighth-inch extension is then turned under the 
stitches and basted down. A small piece of dark 
green oilcloth is then laid under the figure to be 
worked and basting stitches hold the material and 




Fig. 170. Part of a Hedebo collar 

oilcloth together. The oilcloth protects the fingers 
and it is often used by foreigners in making eyelets. 
A small piece is used and it is moved as many times 
as necessary. A large piece is too clumsy to hold. 
On the extreme double edge of the opening of the 
design fine buttonholing stitches are taken. The 
stitches are about one thirty-second of an inch apart. 



204 NEEDLECRAFT 

A section of a design suitable for a collar is shown 
here and the stitches will now be explained that have 
been used on it (Figure 170). 

A bar is formed by laying two or three threads 
so that they span the opening from side to side. 
Over these threads fine buttonholing is worked. 

The little triangles are worked by making seven 
or nine stitches into as many of the buttonhole 
stitches. The second row is worked into the first, 
one stitch from each end is omitted. Continue in 
this way to the point (Figure 171). 

The three large loops that separate the pyramids 
or triangles from each other in the two outer circles 
are worked by making two loops that will each take 
up half the space between the triangles. These 
loops are whipped two or three times to make them 
heavier and then they are covered with buttonholing. 
Work the first and half of the second and then make 
the loop for the third or last and work it also in but- 
tonholing, then finish the second (Figure 172). The 
centre of the circle is made by connecting the oppo- 
site triangles and loops together. Gently distribute 
the threads from the centre to allow a small open- 
ing. Put a thread around this opening and neatly 
buttonhole the threads. 

The middle figure is made by working a row of 



NEEDLECRAFT 205 

open buttonholing then running a drawing thread 
into the loops and buttoning this band with tiny 
stitches. 

The stitches of the middle circle are somewhat 
simpler than the ones just 
described. A circle of open 
stitches is made directly 
under the buttonhole stitches 
on the material. Divide 
this circle in eight parts and 
make a large loop at alter- 
nate eighths. A connecting 
thread at the centre base of 




Fig. 171. Triangle in Hedebo 
embroidery 



each loop connects each op- 
posite pair of loops. The 
triangles are worked from 
the centre to the outer 
edge. 

The open triangles are 
made by working a row of 
open loops around the 
Fig. 172. Buttonlioled loops three sidcs. The loops 
are drawn slightly together with another thread. 

There are many pretty edges that can be used as 
finishes for work. The linen pieces, however, have 
to be hemmed first and then the fancy edge put on. 




206 NEEDLECRAFT 

An edge of pyramids is attractive. An edge of button- 
holed loops with a picot in the centre of each bar 
as described on Hardanger is also good. Some- 
times the loop or pyramid may need stretching in 
shape. Take a pin in the lower centre and pull 
the edges out the desired size. 

In turning curves an extra little loop may have to 
be worked so as not to crowd the large points. 



XIX 



HEMSTITCHING FOR HANDKERCHIEFS AND COLLAR 

AND CUFFS SETS, ALSO SIMPLE DRAWN- WORK 

STITCHES 

DRAWN work is another of the fascinating 
branches of fancy work and when used in 
combination with embroidery it greatly 
enriches the piece. Suppose now that you wanted 
to make a handkerchief and yet did not want to 
take the time to buttonhole the four edges. Well 
there is nothing more appropriate than hemstitching. 
The very expensive handkerchiefs only have two 
threads drawn before hemstitching them but it 
will be easiest to 
hemstitch when 
more threads are 
pulled. 

Handkerchief 
linen that can be 
bought from one 
dollar up per yard 
is of course the 




Fig. 173. Hemstitch 



207 



208 NEEDLECRAFT 

correct thing to use, but lawn or fine china silk is 
often substituted. 

A third of a yard of linen thirty-six inches wide 
will make three handkerchiefs. A thread will have 
to be drawn so that the squares will be perfectly 
straight. A twelve-inch square of linen will make 
a nice little handkerchief. Narrow hems not more 
than one-quarter inch wide are more generally used 
at present so we will plan our handkerchief for that. 
Measure up from the edge of one side five eighths 

of an inch and draw 
out four threads one 
at a time. The other 
three sides must also 
be treated in like 
manner. After meas- 
uring the first side 
with the tape meas- 

Fig. 174. Hemstitching, second step ^^.^ ^j^^ ^^j^^j, gj J^g 

are more accurately measured by turning up one 
corner of the side that has the thread drawn so 
that it forms a right angle. The upper edge of the 
angle must just touch the drawn threads. Crease 
firmly along the diagonal as shown in the diagram. 
Now with the piece still folded over pull the first 
thread of the second side of the handkerchief so 




NEEDLECRAFT 209 

that the corner when turned back forms a perfect 
square (Figure 173). 

When the threads of the four sides have been 
drawn fold back one eighth of an inch, then make a 
double fold so that the hem is just one-quarter inch 
wide. Baste it down so that the folded edge lies 
right under the drawn threads. With your needle 
threaded with a piece of No. 100 sewing cotton, 
start from one corner. Let the end of your 
threaded needle fall between the two thicknesses 




Fig. 175. Another way to hemstitch 

of the material. Bring the needle through the 
edge of the hem. Work from right to left; pass 
the needle under four of the upright threads. Now 
pass again under the same group of four threads, 
but this time carry the needle through the edge. 
Hem directly on a line with the fourth thread of 
the group (Figure 174). 



210 NEEDLECRAFT 

Another way is to hold the material with the 
hem toward you and work from left to right. Pass 
the needle under four threads letting the thread in 
the needle fall under the point of the needle. Pull 
the needle through, thus forming a loop and taking a 
stitch into the hem in the usual way (Figure 175). 

If your thread gives out or breaks, start the next 
thread by working over two or three of the stitches. 

In hemstitching the corners take up four of the 
double threads. 

When hemstitching on coarser material more 
threads can be drawn and also a greater number of 

threads can be taken up 
when working. 

Dainty little collar and 

■ ' hemstitching the hems: 

and a quarter of an 
inch above this work 

Fig. 176. Double hemstitching ^^^j^^ ^ ^^^ ^f French 

knots or feather-stitching. 

Sometimes when a very open effect is desired it 
is necessary to double hemstitch the threads. This 
is very simple. Hemstitch in the usual way, then 
turn the work and take up each group on the other 
side of the drawn threads (Figure 176). 




NEEDLECRAFT 211 

Drawn work is worked to perfection in Mexico. 
There they have large classes for the mountain 
children who do most elaborate pieces on frames. 

Hemstitching is not always necessary in doing 
drawn work. Many beautiful borders can be made 
with simple stitches. 

The sheaf stitch (Figure 177) is made by pulling 
the threads for a space of a quarter of an inch or 
more. Decide the width that you desire and then 
cut the threads perpendicularly. Draw the first 
and last thread to the distance desired, and then cut 
opposite end to match the first slash. After the 
threads have been ^drawn out neatly buttonhole the 
cut edges with narrow buttonhole stitches. Now 

place your work in your em- 
broidery hoops, or, better still, 
if it is possible, buy a pair of 
oval ones that are especially 
made for drawn work. Fasten 

Fig. 177. The sheaf stitch ^.j^j,^^ j j^^ ^^^ ^^^^^^ ^f ^^^ ^^^ 

of the bottonholed sides. 

The number of threads to take up will depend on 
the coarseness of the weave of the material. For 
medium weight linen take up either six or eight 
threads using a stitch like that shown in the first 
step of the second method of hemstitching. Pass 





i^'U^ik'^h\^h'$L 



212 NEEDLECRAFT 

on to the next stitch and when the row is finished 
fasten in the second buttonholed side. The 
thread that passes from sheaf to sheaf should lie 
straight enough so as not to sag between each group 
or pucker the material. 

Another pretty stitch that reminds one of a fish 

^ bone is worked 
somewhat like 
feather - stitching. 
Prepare the 
space as for the 
sheaf stitch. 

Fig. 178. A simple stitch in drawn work Connect thp 

thread in the same way. Take up six threads on 
the left hand side placing the thread under the point 
of the needle as it comes through. Now on the 
right hand side divide the group made by the first 
stitch in half and take the last three threads and the 
three next to it that are not worked (Figure 178). 

A simple stitch is the twist stitch (Figure 179). 
Prepare the material in the same way as for the 
last two stitches and securely fasten your needle 
in the centre of the bar, skip the first three threads. 
Take up the next three on your needle; pass the 
needle back under the first three. Continue like 
this till the end of the row is reached. 




NEEDLECRAFT 213 

A dainty all-over effect suitable for yokes or 
corners of handkerchiefs, cloths, etc., is made by 
drawing the threads out so that the material left 
forms squares. Pull a quarter inch of threads then 
leave a half inch of 
material. Repeat in 
this manner until the 
space is covered. 
Cross the lines, form- 
ing squares of the ma- 
terial (Figure 180). ^'- "'■ '^'^ '"'^'"** 

The double hemstitching, sheaf-stitch, fishbone, 
or twist stitch can be worked on the drawn 
threads. You will note that you will have at each 
corner of the solid squares an open quarter-inch 
square. They will require an extra stitch such as 
the spider described in the lace stitches or the loop 
stitch described in the Hardanger chapter. 

Sometimes it is hard pulling the threads of linen. 
If the threads are soaped they come out very easily. 
Do not wet the soap but just rub it dry on the 
material. 

Some of the finest examples of hand embroidery 
or drawn work are found in the convents. Perhaps 
you are under the impression that drawn work must 
be done right with the hem, but that is not so. I 



214 NEEDLECRAFT 

want to describe a beautiful handkerchief to you 
that I once saw in a convent. It was made of the 
sheerest handkerchief Knen and one thread only had 
been pulled for the hemstitching. A quarter of 
an inch above the hem another thread was drawn. 




Fig. 180. The threads pulled to form squares 

but this time, instead of letting it extend to the hem, 
a thread was cut one quarter of an inch from the 
hem at the beginning and ending. Six threads 
were drawn like this at eighth of an inch spaces. 
The four sides were treated in like manner. 

Where the threads intersected at the corner, the 
squares were hemstitched all around, two stitches 
being allowed to each side of the square. The 



NEEDLECRAFT 215 

stitches were taken through to the centre of each 
square. Beyond where the Hues intersected the 
six long lines were treated quite differently. A 
piece of fine braid not more than an eighth of an 
inch wide was taken on the space between the first 
two rows of drawn threads. A regular cat-stitch was 
worked over this. First a stitch was taken on the 
drawn threads above the braid, then, one below it 
(Figure 181). When the braid was entirely covered 
with stitches on the first row, a second piece of tape 
or braid was placed over the space between the 
second and third rows of drawn threads. This 
time instead of catching the 
thread of both rows, the 

stitches are taken into Fig- ISl. Cat-stitch over the tape 

those of the previous row on one side of the tape 
and into the third row^ of drawn threads on the other 
side of the tape. Five rows of tape complete 
the band between the stitches. Of course all this 
work is on the wrong side of the handkerchief. On 

the right side, a 

*- , ■ ■■ ..„,, , totally different ef- 

"^^ feet is produced. 

• At first glance you 

"'™°°™™°™™°°™=™^^ would think that 

Fig. 182. Five rows of tape cat-stitched there are fivC TOWS 



mmmmfmfimi 



anh lllin l\\\ li imnn ii ii ;i mi u n mi n n n r 

.BnnnirnnnuanmnrmanHiinBniu 

miin ■ n n 11 n iifl II II B fl Hfl ft /I »■ ii n ii II U HI 



216 NEEDLECRAFT 

of tiny tucks with hemstitching on each side, 
until you look again closely and see that it is 
padded hemstitching (Figure 182). 




Fig. 183. A handkerchief for an ambitious little girl 

A section of a drawn work handkerchief for some 
ambitious little girl to own is shown in the illustra- 
tion on this page (Figure 183). It is like a cobweb. 



NEEDLECRAFT 217 

A piece of handkerchief linen twelve inches square 
is selected. Starting from the outer edge of the 
four sides an eighth of an inch wide space is left, then 
the threads drawn for an eighth of an inch. Repeat 
this seventeen times. At the corners the space and 
drawn threads form squares. 

Now the rest of the space should be divided 
up in like manner, so starting from one corner of the 
solid square in the centre, draw the threads for an 
eighth of an inch, then leave a space the same length 
and then draw again. Continue in this manner 
on the four sides of the centre square. Pull out all 
the cut threads and you find that you have a deep 
border of little squares. Buttonhole around the 
four sides of the centre square with tiny stitches, thus 
keeping the linen from fraying. 

To get the pointed edge as shown in the hand- 
kerchief, buttonhole over the line of horizontal 
threads and four of the vertical. The little filling 
stitch I am going to suggest to you is so simple 
that really after you have buttonholed the handker- 
chief your task is almost completed. 

Start in the first point under the solid square and 
work diagonally across the open space. Pass your 
thread around the centre of the little square also 
on the diagonal. Continue across till you reach 



218 NEEDLECRAFT 

the buttonholed edge around the linen square in 
the centre. 

Skip the next point and work the same stitch 
in every other point. This stitch and in fact all 
the rest of the handkerchief should be carried out in 
No. 200 sewing cotton. 

In between the worked points make another 
stitch which is very similar to the one just described. 

It is started from the edge and a stitch is taken 
on the diagonal across four of the squares and half 
way across the solid squares at the corner of each 
group. 

Having reached the buttonholing next the linen 
you turn your work and repeat the stitch over the 
same square. The stitches now form the figure 8. 

The design of drawn work in the centre of the 
square is simple as well as being particularly 
pleasing. Draw the threads for a half-inch space, 
one quarter of an inch above the buttonholing. 
This must be done on the four sides of the square. 
The corners must be buttonholed before beginning 
the drawn work. Start the first thread for the drawn 
work in the centre of one of the buttonholed corners. 
Work the sheaf stitch all the way across. Now 
start a second thread, knotting the first sheaf in 
three, the next in two; so on to the end. These 



NEEDLECRAFT 219 

stitches are taken quite close to the Hnen. Both 
sides of the sheaf stitch are treated the same. 

The daisy in the corner completes the pattern. 
The daisy is made on the foundation of cross-stitches 
caused by the sheaf stitch. A Maltese cross is 
made thus forming twelve stitches catching all 
these together in the centre. Now weave a thread 
around in a circle, one eighth of an inch from the 
centre. To form the petals of the daisy start a 
thread from one of the threads that connect with 
the buttonholing and catch on the woven circle 
as you would if you were doing f agotting. 

Wherever threads are drawn so that they intersect 
at right angles, as in the case of this handkerchief, 
a space is left vacant which is very unsightly if not 
filled in with some figure. Here it was with the 
daisy which is extremely easy but in the majority 
of cases it is with the Maltese cross. 

The wide strip of drawn work shows a pretty 
pattern for linen scarfs. It is nothing but right that 
every girl should take an interest in her bedroom. 
She may not be fortunate enough to have one en- 
tirely by herself but that does not excuse her from 
trying to make it as attractive as possible. The 
key-note to beauty and elegance is simplicity. 
Better have a dainty bureau scarf hand made and 



220 NEEDLECRAFT 

a few necessary toilet articles than a bureau berib- 
boned and with a lace scarf, crowded with old visit- 
ing cards, dance orders, and dainty nothings that 
only catch the dust and give one a bewildered feeling 
when one looks at them. The scarf should be worth 
displaying if it is hand work, for remember what is 
worth doing is worth doing well. 

The butterfly pattern of drawn work (Figure 
184) is simple and pretty enough to please the 
most exacting and as has been said before is most 
appropriate for bureau scarfs. The material of 
the scarf may be linen, lawn, or scrim. It is quite 
unnecessary that the drawn work extend around 
the whole scarf — three sides, one long and the two 
short, being quite sufficient. 




Fig. 184. The butterfly pattern in drawn work 

Draw the threads out for an inch, then hemstitch 
the cloth on both sides of the space; be sure to 
take up the group of threads already hemstitched 
when working on the second side. Fasten the 



NEEDLECRAFT 221 

thread in the direct centre of one end of the drawn 
work and catch eight groups of threads to form the 
sheaf stitch. An eighth of an inch above the centre 
thread start another thread. Divide the sheaf 
in thirds and knot each section of the first sheaf. 
Pass the thread to the second sheaf and repeat the 
same thing, this time under the centre instead of 
above it. Alternate sheaves are divided above 
the centre line and the remaining sheaves 
under. 

A third thread is started beginning an eighth of 
an inch below the centre and the other side of the 
sheaf is divided in three. 

A fourth thread is started one eighth of an inch 
from the solid material. This time the sheaf is 
divided in four, in groups of two. First the top 
of one sheaf is woven like this, then the bottom of 
the next. Continue in this manner till the end 
of the strip is reached. 

The fifth thread knots the groups on the side of 
each sheaf that was omitted by the fourth thread. 

You will notice now that the four threads cross 
each other in the centre of the space between each 
sheaf. Knot the threads in the centre and weave 
across the lower four threads until you have made 
as large a fan as the space will allow. The remain- 



222 NEEDLECRAFT 

ing threads are divided in two, three on each side, 
and two other fans are woven on them. 

In the next space the fan of four is reversed and 
is made in the opposite direction to the first group. 
This pattern is commonly termed the butterfly 
pattern. 

Drawn work should be worked on frames, though it 
is not necessary to use the large square one of the 
Mexicans. The nicest kind of frame and one easy 
to handle is the oval form, which comes in different 
sizes. They are particularly convenient to hold 
a long, narrow piece, which can be worked to 
better advantage than on the round rings. 

Every once in awhile one sees specimens of a 
new kind of drawn work. There is the Mexican 
of which we have had a few of the simplest 
stitches, there is the Hardanger or Swedish drawn 
work, which is described in another chapter, the Porto 
Rico drawn work which is very intricate and also very 
trying to the eyes, but after all none compares in 
simplicity to the Bulgarian drawn work. It is so 
substantial that often after the material of the article 
on which the work is done has worn out, the drawn 
work is as good as new and can be transferred to 
another piece of material. 

Bulgarian drawn work instead of weakening the 



NEEDLECRAFT 223 

material as Mexican work usually does strengthens 
it considerably. 

The work is done in spaces varying from a half 
inch to three inches in width. It can be done on 
linen, huck or lawn backgrounds, though sometimes 
scrim is used. Personally I do not think it pays 
to work elaborate patterns on scrim as the back- 
ground is not substantial enough. 

We will take for example the first towel end shown 
in this work. 

m 




Fig. 185. A towel in Bulgarian drawn work 

Draw threads out of an inch and a half space. 
It is not necessary that the cloth should be hem- 
stitched, though till you are quite familiar with the 
work it may be easier for counting. The hem is 
then turned over and hemstitched. Make the 
double hemstitch on the other side as described in 
the first part of this chapter. 

I have found that though there are many threads 
that may be used for weaving there is nothing quite 



224 NEEDLECRAFT 

as satisfactory as Electro in its finest number. 
Start from the extreme lower left hand corner. 
Weave back and forth over three of the groups with 
a blunt pointed crewel needle for one quarter of 
the distance from the hem. Now omitting the first 
group weave across three. You will see that you 
dropped the first group and took up the fourth. 
Weave to the middle of the space. Now drop the 
second group and weave across to the fifth group 
until you are three quarters across the space. Now 
drop the third group and weave across to the sixth. 
Weave until the space is filled. Without breaking 
your thread weave the seventh, eighth and ninth, 
then the eighth, ninth and tenth, next the ninth, 
tenth and eleventh, then the tenth, eleventh and 
twelfth. Weaving the eleventh, twelfth and thir- 
teenth brings you back again to the hem. 

The woven threads will look somewhat like an 
arch of blocks. Between the arch there are six 
groups of threads. Let us weave that in pyramid 
effect. Start at the hem and weave across the six 
for a little more than a quarter of an inch. Then 
dropping the first and last groups of threads of the 
proposed pyramid weave over four threads for 
another quarter of an inch. Again dropping the 
first and last threads of the four you were weaving, 



NEEDLECRAFT 225 

work across two. Fasten your thread by bringing it 
through the woven stitches into the hem. A new 
thread is started in Hke manner. You are now 
ready to start another arch, close to one just 
made. 

A little more elaborate design is shown in the 
second towel end, a detail of which is also given 
(Figures 186 and 187.) 

After the threads have been prepared as has 
been just described for the first towel start from the 
lower left hand side and weave across the threads 




Fig. 186. Detail of Fig. 187 

eight times. The weaving is very simple. First 
you take two groups with needle pointing to the 
left and then you take the one group that you didn't 



NEEDLECRAFT 

take up the first time. You work back and forth 
as it were. 

Now drop the first thread and weave across to the 
fourth group as in the first towel. Each set of three 
groups will only have eight lines however. Continue in 
this manner till you are one space from the solid mate- 
rial, then weave across four instead of three. Start to 
weave down on the right side over the three groups 
under the block of four. Now continue weaving over 
groups of three until the hem is almost reached then 
weave the last block over four (Seedetail of Figure 187). 

On each side of these blocks weave a row working 
over two groups. 




Fig. 187. A more elaborate design in Bulgarian drawn work 

The groups of thread within the woven rows are 
woven into a triangle. 

Bulgarian drawn work is used on pillow cases, hand- 
kerchiefs, towels, dresses, scarfs, or small square cloths. 

Sometimes coloured threads are used and the 
result is very effective. Use cottons and if they 
are coloured boil them in salt and water before 
working with them. 



XX 

EASY LACE STITCHES, FAGOTTING, SINGLE MESH, 

DOUBLE MESH, SPIDERS, FAN, MALTESE CROSS, 

TWISTED AND BUTTONHOLED BARS, 

PICOTS FOR SIMPLE EDGES 

ONE of our best authorities on lace has said 
that there are over one hundred different 
stitches used in lace. Now there are 
various kinds of laces; there are crochetted, bobbin, 
as well as needle point laces. It is about two 
branches of needlework laces — Renaissance and 
point — that we will talk about in this chapter. 

Renaissance lace is made by basting a flat braid 
on a given pattern and filling the spaces between 
with simple lace stitches. Point lace is made of 
very fine plain braid with much finer thread and 
more elaborate stitches. 

The basting of the braid is extremely important. 
Sometimes only a single line is given to indicate 
where the braid will be, while again a double line 
is shown. The braid must not be wider than the 
double lines. It may be basted so that the side 

227 



228 



NEEDLECRAFT 



held toward you will be the right side of the lace 
or vice versa. Start from one corner of the design, 
turn over one end of the braid an eighth of an 
inch. For coarse work one row of basting stitches 
through the centre of the braid is suflBcient but for 

fine work baste 
along both edges of 
the braid. 

In basting around 
a loop the inner 
edge of the braid 
will have to be gath- 
ered. This may be 
done in two ways: 
the first by pulling 
a thread or by run- 
ning a thread on the 
edge. At a sharp 
point the braid will 
have to be turned. 
The preferred 
method of working 
the lace is to have 
the right side facing you. In starting to braid 
turn up one eighth inch of braid and start from 
a point so that the end may be covered later. 




Fig. 187A. 



Fagotting" and feather-stitching 
on a cap 



NEEDLECRAFT 229 

The braids vary from one cent to fifteen cents per 
yard. 

A simple stitch in lace that greatly resembles the 




Fig. 188. Fagotting 

Turkish stitch in embroidery is fagotting. It is a 
stitch that is often used by dressmakers to connect 
bias bands together for yokes and sleeves. For this as 
well as other lace stitches 
the beginning of the 
thread should be fasten- 
ed so as to be unobserv- 
ed by the average eye. 
If the braid is neatly 
over-casted the end will 
be quite secure. Start- 
ing from the extreme 
left of the section to 
be fagotted take a 
stitch through the braid 
on the opposite side of 




Fig. 189. Single Brussels stitch 



230 NEEDLECRAFT 

the opening, letting the thread fall to the right. 
The stitches are taken from side to side. This 
stitch is best suited to long narrow spaces 
(Figure 188). 

The foundation stitch of lace is the single mesh or 
net stitch. It is a stitch that may be used in almost 
any shape opening. It is a good thing when working 
a piece of lace to pick out one stitch for filling in the 

background; then 
the design proper 
can be as fancy 
as desired. 

The mesh or net 
stitch is good for 
a filling stitch. A 
blunt pointed 
needle is the best 
for working lace 
as you are not so 
apt to stick your- 
self. Make a row 
of open buttonholing, not however through the 
background. The second row is worked slightly 
below the first row. Each stitch is taken into a loop 
of the upper row. If the spaces decrease in size 
drop one stitch from each end for as many rows as 




Fig. 190. 



A handkerchief in simple lace 
stitches 



NEEDLECRAFT 231 

necessary. To finish the stitches overcast them 
to the braid. To many lace makers this stitch is 
known as single Brussels (Figure 189). 

Double Brussels or the knot is worked like the 
single only that there is a second stitch taken in the 
same position as the first. 
The last must be short 
and drawn tightly (Fig- 
ure 191). 

Another pretty filling- 
in stitch is the spider. 
It can be as large as de- 
sired allowing the space 
it is to be used in to deter- 
mine the size. A thread 
is spanned across the 
space and the braid 
whipped for a short distance, say a quarter of 
an inch. The space is spanned again so that the 
threads cross. Pick up all the threads on the 
needle through the centre and make a little stitch 
to bind them. Now begin to weave over one leg 
or strand and under another, so on till a good 
sized body is formed to the spider. In weaving 
be careful not to skip one of these little legs 
(Figure 192). 




Fig. 191. Double Brussels stitch 



232 NEEDLECRAFT 

Another way to work a spider, to make it a little 
stronger is to whip each leg as it is spanned. 

A third and more 
elaborate spider is one 
made with the founda- 
tion thread as de- 
scribed for the first 
spider and then in- 
stead of weaving 
straight around make 
a stitch back over one 




Fig. 192. The simple spider 



leg and forward under two until the body is the 
desired size. This is called the spider in its web 
(Figure 193). 

It is easier to weave on an uneven number of 
threads, and the number of 
these should depend on the 
space. A large space requires 
a large spider with lots of legs. 

A fan (Figure 194) is made by 
spanning three or five threads so 
that they come to a common 
centre on one side and on the 
other they are arranged in ray ^ig- i^s. The woven spider 

effect. The weaving is started from the base under 
one thread and over the other on the first row if 




NEEDLECRAFT 



233 




there are only three. The second row is Hke the 
first, only the threads skipped in the first row are 
taken up. Alternate 
rows agree. 

A Maltese cross looks 
like four fans caught to- 
gether. The threads are 
crossed lengthwise and 
crosswise and the stitches 
taken to gather the ^'^' ^'^' ^'^^'' 

threads in the centre. The weaving is the same as 
the fans. In weaving the fans or crosses do not 
work much more than half w^ay up (Figure 195). 

A twisted bar is 
nothing more than a 
thread overcasted 
(see illustration, Fig- 
ure 124). 

A buttonholed bar 
is made by laying two 
or three threads and 
buttonholinjg over 
them (Figure 196). 

Fig. 195. A Maltese cross -r i • i» 

In this age oi ma- 
chine work there are all sorts of braids that may 
be procured for lace work. Little edges that 




234 NEEDLECRAFT 

were impossible to buy are now made by ma- 
chinery. 

A little edging makes a dainty finish to a straight 
braid and also enhances the beauty of the fancy 
braids. 

To make a simple edging, work a row of picots on 
the edge of the braid which forms the edge of the 
design. 

Dainty yokes, collars, baby caps, and tie ends 
can be made of a few yards of braid and two or three 
dilBFerent kinds of stitches. 

Another decoration I would like to tell you a 
little about is Limerick darning. It is often used 
with fine lace work on a background of fine net. 

The lace thread is used for the darning. The most 
common of the stitches is the plain darning taken 
up over one hole and under the next of the net. 

The next row is 
v/orked close to 
the first. 

Darning on net 
is a decoration 
that is often used 
by itself. Smart little turn-over collars and cuffs 
are most attractive darned in heavy white floss or 
colour if preferred. Pin cushion covers and other 




Fig. 196. A buttonholed bar 



NEEDLECRAFT 235 

dainty articles that every girl loves to have in her 
bedroom may be darned to good effect. 

One of the most simple forms of lace work is 
Connemara lace. It gets its name from the Irish 
county of that name. 

The materials required are Brussels net of any size 
desired, lace braid of a width to correspond with the 
net, heavy lace rings, a ball of Renaissance thread 
No. 60 or linen spool thread No. 25, as well as a 
spool of coloured cotton. 

Connemara lace is used extensively for curtains, 
bed spreads and in fact, on any large piece, when 
the effect is desired and yet not much work. A good 
design for Conne- 
mara lace is shown 
in Figure 197. 

The net can be 
white, ecru, or black. 

Draw a simple yet 
bold design on a 
piece of stiff paper 
or better still a piece 
of pink or blue paper 

y Fig. 197. A good design for Connemara lace 

The rings can be bought all ready for applying, 
for a couple of cents per dozen but they can also 





236 NEEDLECRAFT 

be made at home. Take a pencil and wind around 
one end of a thread about as many times as you 
would judge from the illustration of the 
button or ring half worked (Figure 
198). Slip the threads from the pencil 
and carefully and closely go over them 
Button half with buttouholc stitchcs till all the loose 
threads are completely covered. 
Baste your net over the design, then baste the 
braid along the design. With a fine thread secure 
the braid on the extreme edge to the net only w^ith 
fine running stitches. Sew one side of the braid en- 
tirely around the design then sew the other side 
down. 

The rings are buttonholed to the net. 
If a very elaborate piece is wanted, lace stitches 
may be inserted in spaces that are bound on all 
sides with braid. The stitches, however, should be 
of the simplest, such as the twisted bar or spider. 

Honiton braid which is an egg-shaped braid is 
much more beautiful than the plain Renaissance 
braid employed in Connemara. 

The dearest of baby caps, handkerchief tie ends, 
and other dainty little articles on which a fine dec- 
oration is desired can be made from fine net and 
Honiton braid. Each section of braid can be cut 



NEEDLECRAFT 237 

and made to form petals for a flower or to represent 
a leaf. Honiton is of course more expensive than 
Renaissance braid but a yard of Honiton goes a good 
way. 

There is a thread that can be bought by the yard, 
called picot or purling thread. It has a loop at 
short intervals each side of it. The needle can be 
threaded with it and can be used for stems, tendrils, 
or other parts of a design where a fine single line 
is desired. 

The centre of a flower in Honiton appliqu^ may 
be in worked various ways. A small ring or button 
may be used or spiders may be woven in the centre. 
Again the single Brussels or mesh stitch is worked 
in a little circle in the centre. Use a very small 
ring, if you decide on rings for centre, as a large ring 
spoils the effect of a flower. Any child can make 
designs for Honiton applique. 

The background for Honiton is the fine Brussels 
net. Sometimes a double thickness of net is basted 
over the pattern and the Honiton sewed on or ap- 
pliqued to the net. The double thickness of net 
gives a moire effect. Each section of the braid is 
sewed to the net only. Sometimes two widths of 
braid are used, one size for the flowers and another 
for the leaves. 



238 NEEDLECRAFT 

The braids at most art shops can be had in black, 
cream, or white. If, however, you are not fortunate 
enough to get cream, the white can be dyed at home 
to be as light or deep as you desire. I use cold 
tea diluted in water for a light cream, and coffee 
for the deeper cream. Put the lace to soak in the 
tea or coffee for a couple of hours. Rinse in cold 
water and let dry. If it is not a deep enough shade 
put more tea or coffee in the water and soak the 
lace again. Another way to dye lace, chiffon or 
any delicate fabric is to get a tube of oil paint the 
colour you desire and dilute it in gasolene. Of 
course the gasolene makes the paint light, so test 
the solution by dipping a small piece of cloth in and 
see if it is the right shade. A quart of gasolene is 
suflicient unless the article is very large. 

I know a girl who dipped her white hat all trimmed 
with flowers and tulle that was quite soiled into a 
mixture of gray paint and gasolene and the result 
was a pretty dove gray that everybody thought 
was new. 

Teneriffe or Brazilian point lace is such a simple 
form of lace making that I am going to stop 
and tell you a few words about it before we proceed 
to the next chapter. 

Little forms which look like a large spool with 



NEEDLECRAFT 



239 



pins stuck in them can be bought in many art shops, 
but you can easily make a foundation yourself for 
Teneriffe lace. 

Draw a circle two inches in diameter on a stiflF 
piece of cardboard. Sometimes the circle is drawn 
on white muslin and fastened securely to an em- 
broidery hoop or frame. Divide the circle into 
halves, then quarters, then eighths and each eighth 
divide into six equal parts. Make a dot at each 
division. Thread a needle with a piece of coarse 
thread. Insert the needle one quarter inch beyond 
the circle and bring it up on a dot. Continue in 
this manner all around the circle. Fasten securely. 

Now thread a needle 
with a long thread of 
No. 80 linen thread. 
Let it be extra length. 
Pass the needle under 
each loop from side to 
side until each little 
stitch has a thread pas- 
sing through it. (Fig- 
ure 199). Knot the 
threads in the centre 
and weave four or five rows, over and under the 
strands close to the centre. Skip a quarter inch 




Fig. 199. 



The first step in Brazilian 
point lace 



240 NEEDLECRAFT 

then carry a thread around and knot each thread 
as you pass it. Count the threads and divide the 
number by six; on this number weave a Httle pyra- 
mid. Repeat the Httle pyramid five times, each 
time letting it be woven on the same number of 
threads as the first. Take a thread and catch 




Fig. 200. A motif in Brazilian lace 

every two threads above the centre figure. An 
eighth of an inch above this work another row, this 
time dividing the two threads previously caught and 
taking one of them and one of the next row together. 
An eighth of an inch above the row make another 
row, catching the same threads as were taken in the 
first row from the central figure (Figure 200). 



NEEDLECRAFT 241 

Sometimes a pin cushion is used to make Brazilian 
lace. The pins are stuck in and the threads wound 
over them. 

Brazilian or Teneriffe lace can be used for borders 
on handkerchiefs or other fine articles, while again 
they may be used as medallions on waists or other 
thin clothes. The material from under them is 
cut out so that a lacy eflFect may be produced. 

Other patterns may be readily made. Remember 
that the stitches are very similar to those used in 
the corners of drawn work borders. 



XXI 

SIMPLE BASKETS 

BASKETRY is so easily done and at such a 
small cost that almost any one, even a 
very little child, can master it without very 
much difficulty. With very few tools some beauti- 
ful gifts and other useful articles may be made. 

In this chapter it is my intention to tell little 
children just how to make some pretty things with 
materials that they can obtain from nature's store- 
house and otherwise. 

In making baskets a great deal of rattan is used. 
I suppose that some of my little readers will wonder 
what rattan is. Well, I will tell you. It is a kind 
of grass or leaf which grows in forests of foreign 
countries, twining about the tress, hanging from 
branch to branch sometimes hundreds of feet in 
length but hardly ever over an inch thick. The 
people over there in those countries send this mater- 
ial to us so that we can make many pretty things. 
For little boys and girls living in the country there 
are materials which they can get from the fields 

242 



NEEDLECRAFT 243 

and river banks that may be substituted for 
rattan. 

For instance the water willow when peeled 
proves a very good material. Reed, which is a 
sort of grass that grows on the banks of rivers, may 
also be used after it is dried and peeled. Raffia is 
another material which is commonly used for this 
work. It is a sort of soft substance generally pale yel- 
low andean be bought by the pound at any large store. 

Dried grass is sometimes substituted for raffia 
and the results are often just as pretty as those ob- 
tained by the original material. 

Grass twine is used. It is something like rope, 
and rope is often substituted for it. Raffia is gener- 
ally used to cover it in making baskets. 
A few tools will be necessary for our work such as 
a strong pair of shears, a tape measure or ruler, a 
vessel for water, and some very coarse, blunt-edged 
needles. 

Simple baskets of rattan are very interesting to 
make and I will tell you how to make a small round 
basket without a cover. 

For this basket you will need four fourteen-inch 
pieces of rattan or spokes as we are going to call 
them, one eight-inch piece and two or three longer 
pieces for weavers. 



244 NEEDLECRAFT 

Before starting the work, the rattan should be 
soaked in water until it becomes soft enough to bend 
easily. Then two of the pieces are placed side by 
side in a vertical position and the other two in a 
horizontal position crossing the vertical pieces at the 
centre. Between the two horizontal pieces and to 




Fig. 201. Weaving the bottom 

the right of the centre the half spoke is placed. 

These are held in position by the left hand, while 
the right hand does the work. 

One end of the long piece called the weaver is 
placed at the centre, back of the horizontal spokes, 
with the end toward the right. The first finger of 
the right hand presses the weaver across the vertical 



NEEDLECRAFT 245 

spokes, under the horizontal on the left, over the 
vertical, and behind the horizontal again. Repeat 
twice so as to fasten well. 

Separate the spokes evenly, and it is now ready 
for the weaving (Figure 201). 

If there is any of the winding piece left, it may be 
used as a weaver. 

The weaving is done by pressing the weaver under 
one spoke and over the other until the bottom of the 
basket is about two and one half inches across. 

Soak it in water for a few minutes and then bend 
the spokes upward to form the sides of the basket. 

In order to make the weaving of the sides of the 
basket easier, rest the work on the knee, holding the 
spokes with the left hand and press the weaver under 
and over the spokes with the first finger of the right 
hand. If the weaver comes to an end join a new 
piece by crossing them behind a spoke about an 
an inch from the end of each. 

When the sides of the basket have been woven, 
leaving about an inch and a half of the spokes ex- 
tending, it is ready for the border. 

Cut the spokes to an even length with a slanting 
cut, so that the points may be easily pushed down 
between the weaves. Hold the spokes in water 
for a few minutes and then push one of the spokes 



246 NEEDLECRAFT 

down beside the next spoke at least three quarters 
of an inch below the edge. Do this with every 
spoke until the border has been completed. Now 
our little basket is finished and ready for use. 

Sometimes little girls Hke to have their baskets 
brightened up. A pretty lining of silk or other 
material would do this very nicely. 




Fig. 202. The basket 

Perhaps some children would like to know how 
to make a basket with a cover. It only requires 
a little more time but it will prove very interesting. 

The material for this basket consists of six sixteen- 
inch spokes, one spoke nine inches long and three 
or four weavers. 

The bottom of this basket is made in the same 
way as the one previously described. After 
this much has been done, wet the spokes and pro- 
ceed to turn them up and weave the sides of 



NEEDLECRAFT 247 

the basket. The weaving is done rather loosely 
until you have used three of the weavers. The 
last weaver is drawn more tightly so that the basket 
will assume the shape of an apple with the top cut 
off. The edge is finished off with a flat border which 
may be made by soaking the spokes in water until 
they become quite soft. Each spoke is brought 
behind the next one to the right of it, and out over 
the front of the basket. Then the end of each spoke 
which is lying over the front of the basket is brought 
up over the next spoke to the right and is pressed 
down inside of the basket. When it is dry the 
ends of the spokes 
may be cut off. 

The cover is made 
like the bottom of 
the basket, only the 
spokes are bent 
gradually upward 
from the centre. 
The material for this 
cover consists of six 
fourteen-inch spokes. 

Fig. 203. A mat 

one spoke seven or 

eight inches long and two long pieces for weavers. 
When the cover is nearly as large around as the 




MS NEEDLECRAFT 

top of the basket it is finished off with a border like 
the one described for the top of this basket. The 
cover has to be fastened to the basket and the easiest 
way of doing this is by making rings of rattan. 

A piece of rattan about twelve inches long is 
tied into a ring, the ends being twisted in and out 
of the ring. Three rings are necessary, none of 
them measuring more than a half or three quarters 
of an inch across. One ring is attached to the cover 
on the front between the border and the last row of 
weaving, the ends being sewed under a spoke. An- 
other ring is attached in the same way at the back 
of the cover and the third is fastened across a spoke 
in the front of the basket between the fourth and 
fifth rows of weaving. The cover is placed on the 
basket so that the ring at the back will be just over 
a spoke of the basket. A small piece of weaver is 
then placed between the third and fourth rows of 
weaving, below the border and to the left of the spoke 
mentioned. It is brought through the ring on the 
cover and drawn just tightly enough to allow the 
cover to close easily. The ends are crossed and 
brought through to the inside and sewed down, 
as the rings were. When this is done the basket 
is complete. 

There are many other pretty articles that can be 



NEEDLECRAFT 249 

made easily, such as a mat for a teapot or lamp and 
trays for other purposes (Figure No. 203). 

A very simple way to make a mat would be to 
cut four fourteen-inch spokes of rattan, one eight- 
inch spoke, and two weavers. The mat is started 
in the same way as the first basket in this chapter. 
When the end of the first weaver is reached, a second 
is joined to it. By the time the second weaver has 
been used, the mat is large enough for a border. 
The mat has to be bound. The binding may be 
done by passing the weaver under the last row of 
weaving just before it reached the next spoke. It 
then goes behind that spoke, in front of the next 
and under the last row of weaving. The spokes 
should then be soaked in water, and when soft take 
spoke No. 1 and cross No. 2 and push it down beside 
No. 3 and so on around the mat. A number of 
these mats may be made and joined together for 
various purposes. Two mats joined by ribbon make 
a very pretty whisk-broom holder. 

In nearly all this work weaving is the principal 
thing. By changing the weave we can obtain very 
interesting and pretty results. The simple over and 
under weave may be changed by using two weavers 
and twisting once, twice or three times between the 
spokes according to the size of the article. 



XXII 

RAFFIA BASKETS AND NAPKIN RINGS 

RAFFIA is so soft and strong that it is very 
well fitted for the work of children's fingers. 
So many different things can be made 
with raflSa that it is just as precious to the little 
ones as the same amount of gold. 

Little baskets made of raflSa are dainty and easily 
made. For example a work basket, a candy basket, 
or a basket for handkerchiefs, collar buttons, and 
many things are interesting. 

For one of these baskets we need one long piece 
of rattan, a bunch of raflSa and a blunt-pointed needle. 
Soak the piece of rattan in water until it is soft 
enough to work with. Wind the end into the smallest 
possible ring and with the needle full of raflSa start 
in the middle of the ring and sew over and over from 
left to right until the end is firmly fastened. The 
next row is brought around at a little distance from 
the first and the raffia is brought down through the 
centre, up and once around the coil, thus holding 
the first coil to the second. 

250 




Photograph by Mary G. Huntsman 



It is Jolly to Make a Raffia Work Bag 



NEEDLECRAFT 251 

Wind the raffia around the rattan until the coil 
has been brought half way around the second time, 
when it is again sewed through the centre. At 
quarter distance all the way through the basket 
these joinings are made and they must be made to 
the right of the one below and joined to the previous 
row. The joinings form a pattern. 

As the basket grows larger the number of joinings 
increase. New needlefuls of raffia are always started 
at a joining, the old strand being brought from left 
to right through the upper part of the joining. The 
new strands being brought from right to left through 
two twists of raffia and drawn through so as to leave 
the short end lying next to the rattan. 

Begin to wind again and soon both ends are cov- 
ered. When you have made about ten rows, which 
will form the bottom of the basket, bring the rattan 
above the last row and proceed as before. Each new 
row is brought above the previous one so as to form 
the sides of the basket. When the basket is about 
eight rows high, the ninth row is brought just a little 
inside of the eighth so as to have something for the 
cover to rest upon. When about three inches from 
the point where the rattan was brought up to make 
the sides of the basket, it should be cut long enough 
to finish the row and then shaved off to a flat point 



252 NEEDLECRAFT 

which is sewed closely to the last row. For this 
basket we will have to make a cover. 

The cover is made in the same manner as the 
bottom of the basket. When you have nine rows 
complete, a border is made to finish off the cover. 
The tenth row is sewed to the ninth by a fancy 
stitch which is made by winding once around the 
ninth from left to right and once around the tenth 
from right to left and so on alternately until the row 
is completed. 

The end of the rattan is shaved off and sewed to 
the last row. A pretty lining would beautify this 
article very much. 

One of the very simple things which a very 
small child could easily make is a napkin ring 
(Figure 204). 

Cut a piece of cardboard or stiff paper about an 
inch and a half wide and eight or nine inches long. 
Paste the ends together forming the ring. Take 
two strands of raffia and knot them. Place the 
knot inside the ring holding it with the first two 
fingers of the left hand. The strand on the right 
is brought up and across the ring on the top, the 
end hanging over the left side. The strand on the 
left is brought around the right strand under again 
through the ring and out on the right through the 



NEEDLECRAFT 253 

loop made by the right strand in turning and crossing 
the ring. Pull both ends. The strand on the 
left is brought across the ring, the right strand 
placed over it through the ring and out through 
the loop on the opposite side. Pull both ends. The 
little knot formed 
on the edge is called 
''Solomon's Knot" 
and it makes a very- 
desirable edge. 

DiflFerent colours 
may be used in raf- 
fia which brighten 
the ring very much ^'^' ^^^- ^^^ ^^p^^^ '^^ 

and make the work more interesting. 

When the strands of raffia come to an end, a new 
one is joined by placing the end over the old one 
about an inch or an inch and a half, and working with 
them as one. The ends may be cut off after the ring 
is finished. Sometimes a small bunch of raffia 
about an inch long is tied to the outside of the 
ring. The ends are frayed out to add to the effect. 

There is one article which proves to be most 
delightful and interesting to make (that is, to the 
girls) a doll's hat (Figure 205). 

I think that nearly every little girl knows how to 




254 NEEDLECRAFT 

braid rafRa and after you have learned how to sew 
this braid together you can make any size or shape 
in hats. 

Braid some raffia, say about two or three yards. 
Have several loose strands and a needle and scissors. 

Just as in making large hats we begin with the 
centre of the crown. A needle is threaded with a 




Fig. 205. A doll's braided hat 

fine strand of raffia and the work is begun by winding 
the end several times with the end of the strand 
threading the needle. 

A coil is then started with the edge of the braid 
up, not the face, and it is sewed through at least 
two braids at a time, in stitches which run in the 
direction of the braid. The needle is put in slanting 
down from right to left and up in the opposite 
direction. The crown is coiled round and round 



NEEDLECRAFT ^55 

until it is about two or two and a half inches large. 
The coil is then brought round with the upper edge 
just below the centre of the last row. The following 
rows are sewed in the same way until the crown is 
completed or high enough to suit you. Have care 
in sewing the braid so as to show as little of the 
stitches as possible. The brim is made by flattening 
out the braid and sewing it so that it overlaps the 
centre of the braid of each preceding row. 

When the brim is wide enough one or two rows 
are sewed more tightly than the others and the end 
of the braid is sewed under the brim very flatly. 
Now the hat is ready to be trimmed. 

I would like to tell a little about the handles of 
baskets in this chapter. In most of the baskets 
already described a cover has been made. Some 
people would rather have a handle to the basket, so 
let us see if we cannot learn how to make some 
handles. The twisted handle of rattan is made by 
using one spoke of rattan of suitable length, and a 
weaver. A knitting needle or something similar will 
be neccessary for the work. 

The needle is pushed down beside a spoke of the 
basket and then drawn out again to make room for 
the end of the rattan to be pushed in, about three 
inches below the top of the basket. The other 



256 NEEDLECRAFT 

end is inserted in the same way on the opposite 
side. This makes the foundation handle. The 
end of the weaver is inserted under the third row of 
weaving to the left of the spoke and pushed up 
between the weaving. It is twisted around the 
foundation about an inch apart. When the oppo- 
site side is reached, the weaver is pushed in under 
the third row of weaving on one side of the handle 
spoke and brought out on the other side. The 
weaver is then laid across the first twist and each 
of the following ones, to the other side where it goes 
under the third row as on the opposite side. About 
five or six times across will cover the handle. The 
weaver is fastened off by bringing it inside the 
basket across a spoke, in again, and then cut off. 

The braided handle is made by using six pieces of 
rattan braiding using two pieces in each strand. 

While weaving the basket, three pieces are pushed 
in on each side of a spoke and the weaving is contin- 
ued over the spokes. 

The double ring handle is made by twisting rattan 
into rings and sewing the rings to the weaving of the 
basket on opposite sides. 

In sewing baskets or other articles, different 
kinds of stitches are used. To put a hat together 
the braids are sewed together with a plain stitch, 



NEEDLECRAFT 257 

whereas in putting a basket together a fancy stitch 
is employed. 

The Indians are famous for the various kinds of 
fancy stitches, which they have used in making 
basketry articles. 

The skip stitch which is used in sewed baskets is 
made by enclosing two spokes at a time or enclosing 
one spoke between every two. 

Another useful and decorative stitch which is 
often used is the split stitch. The spokes are 
twined with raffia for a certain distance and then are 
split in two and the right spoke of one is joined to 
the left spoke of the other and twined with raffia as 
one. 

Sometimes in making a cover for a hanging jar 
the spokes radiating from the centre are brought 
diagonally across each other and joined together by 
the winding stitch. 

Many of the simple lace stitches described in a 
preceding chapter prove very useful in basketry work. 

To make the melon-shaped basket shown in 
Figure 206 a six-inch pair of embroidery hoops will 
be needed. One hoop is placed inside of the other. 
The inside hoop is perpendicular while the other one 
is horizontal. Tie the two rings together at the point 
of intersection. 



258 NEEDLECRAFT 

From basket splint one sixteenth of an inch thick, 
cut six strips which are ten inches in length. They 
should be one inch and three quarters in the centre 
and taper to points at both ends. 

Select raJSia in two shades. The natural and 




Fig. 206. A melon-shaped basket 

brown were used for this basket. With a strand of 
the brown start to weave at the point of intersection. 

Wind around the four pieces of hoop until a 
square about one and a half inches is made. Repeat 
on the opposite side of the hoops. 

Take two of these pieces of prepared basket 
splints and insert them in the centre of both squares. 



NEEDLECRAFT 259 

First one side of the pieces is inserted in the square 
and then the other end of the ribs is inserted in 
the other square. The natural colour raffia is now 
used to weave over the hoops and ribs. The weaving 
is done over and under and back and forth from side 
to side until there are a dozen rows of weaving. 
The other side of the basket is treated in like manner. 

The other four ribs are inserted two on each side 
of those previously placed. Now begin and weave 
all the way across. Weave several rows of brown 
then the natural raffia. You will put in more or 
less of the brown raffia as you desire, only the 
pattern on each side of the centre must agree. 

Instead of weaving from one side and then across 
to the other, it is a better plan to weave a little 
first on one side of the basket and then on the other. 
In this way you are sure of 
your pattern. 

If the raffia is threaded in 
a large needle it is easier to 
weave. 

Another strand or more is 
wound around the handle. A 
basket such as this makes an ^'^' ^^^' ^^' ^°^^^ 
attractive fruit basket and is just the thing to give 
to sick friends or to use when going berrying. 




260 NEEDLECRAFT 

Raffia can be used in many ways as you have 

already seen. A pretty box for jewellery is one that 

is almost as easy to make as 
the napkin ring. Get a 
sheet of thin white card- 
board. The brown cardboard 
is a very weak material and 
easily bends and breaks. 
Cut two circles of cardboard 
five inches in diameter. Use 
compasses to inscribe the cir- 
cle, so that it may be perfect. 
Then cut a strip seventeen 
inches long by two inches 
wide. From the centre of 

one of the circles cut a two-inch circle. This piece 

will be the top of the 

box. Now thread your 

needle with a strand of 

the raffia which has 

been soaked in water 

and buttonhole in raffia 

over the cardboard. 

When the cardboard 

has been entirely covered with the raffia stitches 

(Figure 207) take the other circle of cardboard and 




Fig. 208. Buttonholing the card- 
board 




Fig. 209. A simple basket box 



NEEDLECRAFT 261 

cut a half-inch circle from the centre. Cover this 
piece of cardboard like the top. (Figure 208). 
The raffia should be wiped before using it; if not 
the water will spoil the cardboard. 

The centre opening on the cover will be filled with 
a spider-in-its-web. Make four strands of raffia 
across the space. We now have eight spokes. 
Take the threaded needle back to the centre and 
having passed under a spoke go back and pick it up. 
The idea is to go back over one and forward under 
two. Continue in this manner till the spider is the 
size you desire. 

The long strip of cardboard is sewed together and 
is worked like the napkin ring. With a strand of 
raffia, cast or bind the bottom of the box to the side. 
The top is fastened on one side with two strands of 
raffia which are tied in a bow. The extra ends are 
cut off. 



XXIII 

RAFFU HATS 

MANY of our little girls have made any 
number of dolls' hats by just braiding 
raffia and sewing the braids together. 

If you were to make a large hat (by this I mean 
a hat large enough to wear yourself) by sewing braids 
of raffia together, it would be entirely too heavy and 
also would fall into any shape, perhaps not a very 
desirable one. 

The only thing to do would be to procure a wire 
frame and to make the raffia hat on it. 

In order to do this we will have to braid enough 
raffia for the whole hat before doing anything else. 

For this kind of braiding the raffia will have to 
be soaked in water and then rolled out so that the 
strands will look like pieces of ribbon about three 
quarters of an inch wide. 

You may use a five, seven, or nine strand braid 
for this hat. Take one long strand of raffia and place 
it horizontally on a flat surface. Tie seven long 
pieces to the horizontal piece as shown in Figure 210. 

262 



NEEDLECRAFT 

Begin with the last strand on the right-hand side 
and weave it over the next, under the following one, 
etc., toward the left side letting it hang out to the 
left. Take the next strand on the right and weave 
it in the same manner as the preceding one. 

When the left-hand side is reached, drop the first 
left-hand one with the rest and let the new weaver 




Fig. 210. Weaving the raffia 

hang out till the next is brought over. The first one, 
when it reaches the left side, is always turned over 
the last weaver just brought over before dropping it 
(the first one) into place with the others. 

When the first set of strands are used, replace them 
one at a time by using the new and old together about 
two inches from the end of each. 



264 NEEDLECRAFT 

It will take about eighteen or twenty yards of braid- 
ing to cover the frame. When the braiding is ready 
to sew on the hat, begin with the centre of the crown. 
When the crown is entirely covered, start with the 
brim and begin sewing the coils together to the 
frame at the base of the crown. The under side 
of the brim may be covered with silk or material 
of a similar kind, or if you prefer to have it, covered 
with braid sewed on in the same manner as the 
outside, beginning at the base of the crown. 

When the whole hat frame has been covered with 
the braiding, you may roll it in the front or on the 
side, or in fact any place to suit yourself. A nice 
large bow of ribbon placed on the hat in a becoming 
fashion would make it very attractive, or for those 
who prefer flowers and ribbon the hat trimmed in 
this manner would be equally charming. 

A woven raffia hat made on a wire frame is a very 
charming and neat creation. 

It takes time and patience and skill to make the 
hat, but when it is finished you are doubly repaid 
for your work and the time spent on it. 

The crown is woven first and then fitted to the 
crown of the wire frame. Take a small strand of 
raffia to make a ring of very small dimensions, say 
about one quarter of an inch in diameter. To this 



NEEDLECRAFT 265 

ring, knot eight strands of raflfia as shown in Figure 
211. Eight more strands are tied around each of 
the eight strands, using the very pretty and effective 
"Solomon's Knot." 

This knot is a very simple twist and may be tied 
either with a double or single strand. The strand 
which is tied on is laid first under the main double 




Fig. 211. The crown of the hat 

strand and then both ends are crossed over each 
other. The right one goes first under the end of the 
left-hand one and over the double middle strand and 
then again under the loop of the left-hand one. 

It would be well to practise with strands of raffia 
other than those used in making the hat so as to 
become quite familiar with the knot before using it 
on the hat. Counting the eight strands tied to the 



266 NEEDLECRAFT 

ring and the sixty-four strands that are Solomon- 
knotted to the original eight we have seventy-two 
strands in all. They start from a common centre 
and are brought down and outward through the 
pattern and are knotted one by one onto the main 
strands as they cross. 

If you were to trace any one of the seventy-two 
strands you will find that it comes to the outside 
edge of the square through a very simple course. 
The last or eighth strand, knotted to the main strands, 
is used to tie up the bunch of strands coming from 
the sides of the diamond. It falls into place with 
the other strands and is tied up in turn as the 
others are. The larger knot tying up the bunch of 
raffia in the centre of the diamond is the same kind 
of knot as the smaller ones. It may look slightly 
different in composition, but that is due to the fact 
that it is being tied around a larger bulk. 

After the knots have been all tied at the edges of 
the diamonds, the ends are woven under and over 
making a sort of a square design as shown in the 
illustration. 

The finishing of the crown is done by taking four 
strands, two from each of the squares at the centre, 
and knotting them together with a simple knot. 
Two from each side are knotted together. 



NEEDLECRAFT 267 

If you find that the strands do not come out in 
sets of four, make an extra strand by splitting in 
two one of the other strands. 

The brim of the hat is not so tedious to make as 
the crown and having a larger surface on which to 
work you will find that the progress is more rapid 
and requires less time and energy. 

Knot on the outer wire of the frame as many 
strands of raffia as will fit very closely but easily 
side by side and then tie them into loops such as 
were used on the edge of the crown of the hat. 
This loop is the same as that used in making the 
shopping bags and hammocks described in the next 
chapter. 

You may use your own judgment in designing 
the brim. The outer edge may be made of the same 
loops that we have just spoken of. On the next 
row the strands of raffia are drawn down tightly 
and tied around the wire with a simple knot. 

Alternate these two designs and you will have a 
very pretty brim. 

To finish off the edge on the brim /cut the ends oflf 
to about three quarters of an inch in length and sew 
them in under the wire with a needle threaded with 
fine raffia. A tapestry needle or a darning needle 
would do for this purpose. 



268 NEEDLECRAFT 

The trimming for this hat could be easily made of 
rajBBa. I will leave it to the maker to decide what 
would be most suitable to the taste. I might 
suggest such articles as buckles made of raflSa 
or rattan or perhaps quills made of raffia. 

If you do not care to have the hat trimmed with 
its own material, velvet ribbon, satin, flowers, 
quills, etc., would make a desirable trimming. 

A very bewitching hat of a plain, three-strand 
braid of raffia can be easily made with very little 
trouble. 

The raffia has to be soaked in water until it is 
soft. Unroll each strip and it will probably be 
about three quarters of an inch wide. In order to 
make the braid thick enough it will be necessary to 
use three or four pieces in one strand of the braid. 
Braid about nineteen or twenty yards before be- 
ginning to make the hat. 

Choose a wire frame of a low rounded crown and 
a broad flat brim. If you wish to change the shape 
of the frame after the braid is sewed on, it will be a 
very trifling matter. 

The end at which the braid is begun forms the 
centre of the crown. It is bent over at about five 
eighths of an inch from the tip and the long end is 
coiled around in a second row, the edge of which 



NEEDLECRAFT 269 

comes an eighth of an inch under the edge of the 
centre. It is generally sewed on with a darning 
needle, threaded with a very fine strand of raffia. 
Use the back-stitch bringing the strand all the way 
through on the right side and then all the way 
through underneath. 

The crown is made entirely by sewing the plaits 
together, separately from the wire frame, but it 
will be well to try it on the frame occasionally so that 
it will securely fit. When about six or seven rows 
have been sewed together and the crown is four or 
five inches high, the brim is begun. The coil of 
braiding is brought around more loosely and flat- 
tened out as it is sewed. 

When six or seven rows have been completed, the 
brim at the back will be large enough. Each suc- 
ceeding row will have to be cut as it gets near the 
back and the end fitted in under the previous row 
until the sides near the back are about nine or ten 
rows wide and the front twelve rows. It would be 
well to pull the coil slightly tighter as it draws nearer 
the outer edge so that the last rows may roll a little. 

If you care to have the under brim of braided raffia 
it can be made in the same way, except that it is one 
row wider at the front and sides, to allow it to roll 
over the edges of the brim. It is pressed on the 



270 



NEEDLECRAFT 



wrong side and attached to the under brim of the 
wire frame, with very small stitches of raffia. The 
outer edge of the under brim should not be fastened 
until the crown and the top brim are on the wire 
frame, as the top brim should come over the edge of 
the under brim. 

The crown and the upper brim are now pressed 
on the inside and put on the frame to which they are 
caught with a stitch of raffia here and there. 

The centre of the crown particularly should be 
firmly attached with stitching to the centre of the 
wire frame. A row of braiding is brought around 
to cover where the upper and under brims join inside 
the rolled brim and is sewed on either edge with small 

stitches of raffia. 

A hat like this would 
be very pretty trim- 
med with a satin rib- 
bon or silk bow. A 
large bow at the side or 

Fig. 212. A braided hat for yourself ^J^^ ^^^^J^ WOUld make it 

very attractive if the bow is of a contrasting colour. 
Some people prefer leaves and flowers, with a 
little touch of silk; others quills or feathery materials. 
In fact it may be trimmed with material of any kind. 




XXIV 

KNOTTING FOR DOLLS' HAMMOCKS, SHOPPING BAGS, 
AND OTHER PURPOSES 

KNOTTING of raffia for dolls' hammocks, 
shopping bags, belts, coverings for hang- 
ing jars, and many other things proves to 
be a very interesting part of the basketry work. 

Little girls could easily make some very pretty 
belts to be worn with some of their dainty frocks, 
and I don't know what could be more delightful 
than a hammock for dolly to sleep in. 

First let us see how we can make dolly's hammock. 
We will have to have two small brass rings about 
three quarters of an inch in diameter, twelve pieces 
of raffia, and a pair of scissors. 

Place one of the rings on a table or other flat 
surface and tie each of the twelve pieces of raffia 
on the ring, leaving an end about an inch long. 
Begin and tie simple knots three inches from the 
ring and one inch apart, knotting the strands two 
and two until nine or ten rows have been completed. 
Finish the hammock by fastening the ends three 

271 



n% NEEDLECRAFT 

inches from the last row of knots, to the other ring. 
The hammock is ready for Sally Ann to have a nap. 

The next thing to do is to make a shopping bag, 
to carry all the small bundles when you go down 
town to buy dolls' clothes. 

This little bag is made with the same kind of 
knotting, only the number of strands and the ar- 
rangement of them differ (Figure 213). 

Twenty-two strands of raffia and a pair of scissors 
are necessary. Arrange twenty of the strands in 
pairs, and tie each pair in the centre. Place them 
on a table with the knots side by side, leaving a 
little less than ten inches on each side of the knots. 
Begin on one side of the centre knots, and tie one 
strand from one knot to the next strand from the 
next knot. They must be an inch from the first knots. 
Tie the same two strands an inch from the centre 
on the opposite side. In the same way tie the out- 
side strands of this group to form the corners. Tie 
them one inch from the first centre knot. Make 
ten rows of knots an inch apart. When these have 
been completed, the bag is ready for the handles. 

Separate the strands on one side of the bag from 
those on the other. Divide the group on one side 
in half. Fasten each group one and a half inches 
beyond the last row of knots. Braid the strands 



NEEDLECRAFT 273 

about six inches. Do the same with each group, 
making four braids in all. Hold the two braids 
from one end of the bag together so that the loose 

ends of one braid over- 
lap the other. Begin- 
ning at the middle point 
make a binding one 
and a half inches to 
the right and a similar 
one to the left. Cover 
the binding with ''Sol- 
omon's Knots." Keep 
the lines of knotting 
straight. Finish the 
opposite handle in the 
same way. 

Some day when you 
have shopping to do 
for your mother, take 
your bag along and see how handy it will be. 

In the beginning of the chapter I spoke of a belt 
to wear with a pretty frock. A belt made of a six 
strand braid proves to be very serviceable to some 
little girls. You may use plain white raflBa or a 
plain colour but oftentimes two colours add to the 
attractiveness of the belt. 




Fig. 213. A shopping bag 



274 NEEDLECRAFT 

Take three long pieces of raffia, that is, if the raffia 
is very thick; if not, six or twelve pieces using two 
or four pieces as one strand. Hold the strands at 
the centre in the left hand. Put the strand on the 
extreme right over and under the next two strands. 
The strand on the extreme left is put under, over 
and under the other strands. This forms a braid. 
Continue doing this braiding until the belt is long 
enough to suit you. To finish the ends tie the 
remaining loose strands close to the braid and cut oflF 
the ends . Turn the knots under and sew over the ends 
with the loop-stitch described in a preceding chapter. 

In working with raffia many times an article 
will need something to put a finishing touch to it, 
I would suggest using a fringe or tassel according 
to the kind of work in question. In my experience 
they have proved to be just the thing for such pur- 
poses. For example, in knotting raffia for a work bag, 
the ends of the raffia may be left hanging and when 
cut to an even length provide a very plain finish for 
the bottom of the bag. Fringing or tassels would, 
I think, add considerably to the appearance of the 
article. To make fringe on the bottom of such a 
bag it is necessary to cut the ends an even length 
after the last knot has been made, and with a pin 
or needle fray out the ends very finely. 



NEEDLECRAFT 275 

The way make tassels for a finish is to wind a 
strand of raflia over a cardboard about two or three 
times, or if the tassel is to be quite thick, wind five 
or six times. Slip it off and bind it several times 
near the top with the end strand of the bag. Sew it 
fast with a tapestry needle. 
Cut through the centre of 
the loops. A row of these 
across the bottom of a bag 
are very effective. 

A very dainty little article 
for a very small child to 
make is a little clothes brush 
or whisk broom. Secure a 
brass ring about one inch in 
diameter and cover the 
ring with the loop stitch. 
Fold twelve strands of raffia 
twice and slip the bunch 
through the ring bending 
Make a binding one inch below the ring and one 
inch long; cover the binding with ** Solomon's 
Knots." Fringe the ends well and trim off evenly 
(Figure 214). 

Knotting in silks, cotton or linen strands should 
be mentioned in this chapter. It is a difficult thing 




Fig. 214. 

it 



m 



A whisk broom 

the middle. 



276 NEEDLECRAFT 

to find a piece of fringe that will just match the 
colour of silk you have but it is an easy matter to 
make the fringe yourself. The simplest kind is the 
knot fringe. It can be made of filo, rope, twisted, 
or heavy floss when used in connection with a silk, 
satin, or velvet background. For cotton or linen 
background, cotton floss or fine cord can be 
used. 

Let us suppose that you wish to make the fringe 
into a hem. Take a cluster of six or eight strands 
of rope silk, ten inches in length, and draw them 
through the extreme edge of the hem. If the other 
kind of silks are used, more strands will be necessary. 
Knot the cluster close to the hem. At a little less 
than a half inch distance over make another cluster 
and repeat in this manner across the space on which 
you want the fringe. 

Now take the first cluster and divide it in half. 
Hold the half nearest the next group in your left 
hand and divide the second group. Taking the 
half close to first group, knot the strands together 
one half inch from the hem. Continue like this 
all the way across. Do not pucker the material 
when knotting. 

A third row of knots is now made below the second. 
This takes up the first half of the knot previously 



NEEDLECRAFT 277 

used and half of the next group. In this way you 
form a diamond. If a deeper fringe with more knots 
is desired cut the strands of silk three inches longer. 
For every inch of fringe allow three inches of 
strands. 



XXV 

SIMPLE BEAD CHAINS ON SINGLE STRINGS, A 

HOME-MADE LOOM, WOVEN CHAINS, 

BELTS AND PURSES 

HAVE you ever taken pop corn and made a 
chain of it for Christmas trees, or perhaps 
you have strung cranberries? Maybe it 
was the first time that you ever held a needle. I 
remember when we were youngsters living in the 
South, our nurse used to take us out under trees and 
we would string "Job's Tears" for hours. Many 
drug stores sell these seeds on strings for infants 
to cut their teeth on. 

The simplest form of bead work is just as easy as 
stringing pop corn or berries. Beads come in all 
sizes from the tiny ones that are no bigger than a 
top of a pin to the large ones the size of a marble. 
Sometimes you can get odd-shaped beads, flat on 
one side and curved on the other. A string that is 
pretty enough to wear on state occasions can be 
made of heart-shaped and round beads. 

The regular bead needle is very fine and long. 

278 



NEEDLECRAFT 279 

It is better when stringing a single strand to double 
the thread. Use Hnen thread No. 100 or 150. Thread 
the needle with a piece of thread eight inches longer 
than double the length of the necklace. Bring the 
two ends together and make a knot three and a 
half inches from the ends of the thread. The 
thread will be very much stronger if you wax it. 
Now thread seven small round beads then an odd 
shaped one. Repeat in this manner till you have 
the length of chain desired. Cut off the needle and 
tie the remaining thread in a tight knot close to the 
beads. Ribbons are sometimes used to fasten the 
chain or necklace together but the little clasps that 
you can buy for a few cents are neater and do not 
get soiled as ribbon does. Fasten on the clasp with 
the thread that extends beyond the knots. 

A sweet little daisy chain can be made on two 
threads. Thread two bead needles with two long 
threads. Bring one end of each thread together and 
make a knot as described above. Fasten the knot to 
a table with a pin so that one needle is on the right 
and the other one on the left. Thread two white 
beads on your right hand needle. Put your left 
hand needle down through the white bead so that 
you have a thread coming from each side of the 
beads. Your needles will have changed position, 



280 NEEDLECRAFT 

Thread the right hand needle with one yellow bead. 
Pass the left hand needle down through this and 
again the needles are reversed. Thread two more 
white beads like the first two and do the same thing. 
Now take the right hand needle and thread two 
more white beads and carry the needle through the 
first two white beads from right to left. Thread 
two more white beads on the same needle and carry 
it through the second or top group of white beads 




Fig. 215. A daisy chain 

from left to right. Thread ten green beads on each 
of the needles and now we are ready to make another 
daisy (Figure 215). Continue in this manner till 
the necklace is complete. 

Another and more elaborate daisy chain is made 
on one needle. Make a knot in the thread and 
string four green beads. Hold this down between 
the thumb and fore-finger of the left hand. Thread 
one green bead and pass through the third of the 
four beads. Thread another green bead and pass 
through the first bead. Thread one white bead and 
pass through the green one on the left. Thread 
another green bead and pass through the green one 
to the left (Figure 216). 




NEEDLECRAFT 281 

Third row — Thread a green, pass into a green to 
the left. Now thread a white bead and pass in 
through the first white bead. 

Fourth row — Thread a yellow bead and pass 
through last white, 
and a green bead 
through the green. 

Fifth row — A green 
bead through the last 
green, a white through 
the yellow. 

ri. ,1 A 1 ., Fig. 216. A woven daisy chain 

ISixtn row — A white 
bead through the last white, a green through the 
last green. 

Seventh row — A white through the last green, 
a green through the last white of the sixth row. 

Then three white beads on the needle and pass 
through the first white on the second row. Carry 
the thread through the daisy thus formed till you 
have it again in same position as it was before you 
threaded the three beads. 

Eighth row — One green into the last green, one 
white into the last white. (Note that you are now 
starting another daisy on the left-hand side). 

Ninth row — One yellow into last white, one green 
into last green. 



282 NEEDLECRAFT 

Tenth row — One green into last green, one white 
into yellow. 

Eleventh row — One white into last white, one 
green into green. 

Twelfth row — One white into last green, one 
green into white. 

Repeat the directions from the second row. 
Note that though the chain is four beads wide there 
are only two beads that you work on in each row. 

If the thread breaks, start the new one, two or 
three rows back and go through the difiFerent beads. 

The above directions are for a chain that is worked 
without a loom. Now-a-days it is quite possible 
to buy a little loom for about fifty cents, but you 
can make one at home that will not cost you a penny. 
The size of the loom will depend on what you are 
working but we presume that it is a chain. Should 
you ever make a purse it would pay you to buy 
a loom. 

To make the home-made loom get a piece of card 
and a wooden meat skewer such as butchers use. 
Fasten the skewer down on both ends to the card- 
board about two inches from the upper edge. One 
inch above the skewer in the direct centre make a hole 
and one inch from the bottom edge of the cardboard 
make another hole. Cut six pieces of No. 90 linen 



NEEDLECRAFT 283 

thread, thirty-six inches long. This measurement 
is sufficient for a chain twenty-seven inches or under. 
Tie one end of each thread to the skewer. Now 
holding the six threads together, carry them down 




Fig. 217. A home-made loom 

through the bottom hole across the back of the card- 
board and tie in a loose knot to the top hole. 

Thread a bead needle with a thread of No. 100 



284 NEEDLECRAFT 

linen thread that has been well waxed. Tie the 
thread to the extreme right hand thread of the warp. 
Now we are ready to make the chain (Figure 217). 

First row — Thread the needle with five yellow 
beads. Pass the needle toward the left under the 
warp threads, letting one bead slip in every space. 
On the left hand side bring the needle up to the right 
side and slip it through the five beads. 



m^^ 


• •l*H^ 


• 


• 


•M^m 


r 


^mm» 


• •www 


• 


• 


Q^.^ 














— 1 


>/<.4i;^v<n 


DDD^D 


□ 


D 


n>r<- Mji 





Fig. 218. The design for the chain described 

Second row — Thread five blue beads and fasten 
them in the same way. 

Third row — Thread five yellow beads. 

Fourth row — Five red beads. 

Fifth row — Five red beads. 

Sixth row — Two red, one blue and two red. 

Seventh row — One red, three blue, one red. 

Eighth row — Five blue. 

Ninth row — One red, three blue, one red. 

Tenth row — Two red, one blue, two red. 

Eleventh row — Five red. 

Twelfth row — Five red. 




Photograph by Mary G. Huntsman 

The Fascinating Task of Making Bead Chains 



NEEDLECRAFT 285 

Continue in this manner for as many inches as 
needed (Figure 218). When you have used up all 
the warp threads on the upper side of the cardboard 



xp kckxxo xxxbco^^ iKXNxo 


■kd pr 3^0 C Ph^"^°4-p^^ 


'p-" 5Kk> 5 ovp M^ o\D 


KklxKbrl k ^ X X (51 1 Mxklxlol 1 1 IxM 1 



Fig. 219. Another design for chains 

roll the finished chain over the skewer and fasten 
the remaining threads in the lower hole. 

To make a belt or purse the larger loom will be 
necessary. Designs used for cross stitch are 
suitable for bead work. 

Before I tell you how to make any more bead 
chains and the other articles that may be made 



^3SK 



skssg;nE^ii9sosQiaL^&)isi!]i?a0&]fi0fii£O[ij;£ 



Fig. 220. A third design for a chain 

with beads, I want to tell you how to make a dainty 
purse that is illustrated in this chapter. It is made 
of gold and rose-coloured glass beads and it belongs 
to a bright little girl I know who has been using it 
for the past three years. A spool of heavy button- 
hole twist of a colour to correspond to one of the 
coloured beads is needed (Figure 221). 



286 NEEDLECRAFT 

Take eighteen strands of silk, each a yard long. 
See that the ends are all even. Tie a tight knot 
through the centre of the threads. Thread a bead 
needle with one of the strands of silk. Put on two 
pink beads then three yellow, five pink, 
three yellow, five pink, three yellow, 
five pink, three yellow, five pink, five 
yellow, one pink, seven yellow, one 
pink, seven yellow, one pink, seven 
yellow, one pink, five yellow, five pink, 
three yellow, five pink, three yellow, 
five pink, three yellow, five pink, three 
yellow, seven pink. This completes 
the first string. Do not allow any 
beads to drop, which they are very apt 
to do while you are working on another 
row. It is suggested that the strand 
of silk on the left of the beads should 
be knotted closely to the beads to 
prevent them from slipping. 

Unthread your needle and take the 
next strand; thread two pink, one yel- 
low, then slip your needle through the second yel- 
low bead of the first row, thread one yellow, five 
pink, one yellow, now slip your needle through the 
middle yellow bead of the first row or in other words 



Fig. 221. The 
bead bag des- 
cribed 



NEEDLECRAFT 287 

slip your needle through every eighth bead on the 
first row. The colouring remains the same. 
I will start the instructions again for the second 
row which is to be threaded, two pink, one yellow, 
slip needle through bead on first row, one yellow, 
five pink, one yellow, slip needle through bead, 
one yellow, five pink, one yellow, slip needle 
through, one yellow, five pink, one yellow, slip 
needle through bead, one yellow, five pink, one yel- 
low , slip needle through bead, three yellow, one pink, 
three yellow, slip needle through, three yellow, one 
pinkj'three yellow, now slip needle^through bead, three 
yellow, one pink, three yellow, slip needle, three yel- 
low, one pink, three yellow, slip needle, one yellow, 
five pink, one yellow, slip needle, one yellow, five 
pink, one yellow, slip needle, one yellow, five pink, 
one yellow, slip needle, one yellow, five pink, one 
yellow, slip needle, one yellow, six pink, slip needle 
into last bead of first row and knot the two threads 
close to the bead. Be sure that the knot is large 
enough not to slip through the hole of the bead. 

Thread your needle with the third strand. Put 
on two pink, three yellow, two pink, slip needle 
through third bead of first group of five pink of 
the second row. (For the rest of the row "slip 
needle" means slip the needle through the fourth 



288 NEEDLECRAFT 

bead below the one slipped through on the second 
row) two pink, three yellow, two pink, slip needle, 
two pink, three yellow, two pink, slip needle, two 
pink, three yellow, two pink, slip needle, two pink, 
five yellow, slip needle, seven yellow, slip needle, 
seven yellow, slip needle, seven yellow, slip needle, 
five yellow, two pink, slip needle, two pink, three 
yellow, two pink, slip needle, two pink, three yellow, 
two pink, slip needle, two pink, three yellow, two 
pink, slip needle, four pink. 

The fourth row is the same as the second. Every 
other row from the third is also worked like the third. 

The last row which joins the bag — Two pink, 
slip needle into fourth bead of next to last row, 
thread three more beads, slip into centre bead of the 
group of sevens of the first row. The pattern is 
diamond-shaped as you will note, therefore after 
threading your needle with three beads of the shade 
to correspond with the previous row slip your needle 
in the centre bead of the groups of seven of the pre- 
ceding row and the first row. Work first to the right 
and then to the left. 

Every two strands of silk must be knotted to- 
gether to keep the beads from slipping off. Braid 
the threads extending beyond the bead work in 
groups of three. A large bead or slide will be 



NEEDLECRAFT 289 

necessary to make the purse a practical money bag. 
j Get two big beads that have openings large 
enough to pass all the silk threads through. Take 
a knot on the silk thread after the first large bead 
is in position. This knot should be two inches at 
least from the beads. The silk threads may now 
be cut quite close to the knot or they may be cut 
one inch from the knot to form a tassel. 

If the little purse was left without any further work 
it would look quite top heavy and unfinished, for 
that reason a bead tassel is suggested as shown in 
the illustration of the bead purse. 

Thread your needle with a long strand of the but- 
tonhole twist. String about two and a half inches 
of pink beads. Before commencing to string the 
beads fasten the thread in the heavy knot at the 
bottom of the purse. Catch the thread with the 
beads also in the knot. Make two pink strings 
this length and two yellow. Then make four 
strings, two pink and two yellow, that are not more 
than an inch and a half long. Fasten off the threads 
securely and the bag is complete. 

Three bunches of pink beads and two bunches of 
yellow will make two purses as have just been 
described. The beads vary in price from six cents a 
bunch to twenty-five cents. Sometimes the more 



290 NEEDLECRAFT 

expensive kind have only half the number of beads 
that the cheaper bunches have. Do not get too 
small a bead or the work will become very tedious. 
The large beads for the slides are more expensive. 
They cost four cents apiece or more. 

Of course other colour combinations can be made 
also other patterns. Silver and blue is another 
pretty combination for a bead purse. 

Now while we are on the topic of beads, I would 
like to tell you about some sensible portieres and 
cushion tops that I recently saw at an Arts and 
Crafts exhibition made of an inexpensive back- 
ground and beads. Monk's cloth was used for 
one of the portieres. Monk's cloth is somewhat 
like burlap but the weave is coarser and more even. 
A hem was turned on one short side and one of the 
long sides and the thread drawn out for a space 
of about two inches. The threads were hemstitched 
and then a design of beads worked between the groups 
of threads. To accomplish this the design was well 
planned out before commencing the work. The 
number of beads needed to fill out the space can be 
judged by placing the beads in the opening and 
testing that for yourself. After the design has 
been selected make a pencil copy of it. It is better 
to restrict yourself at first to just two colours. 



NEEDLECRAFT 291 

Fasten your sewing thread securely to the threads 
of the material. Use carpet thread for the weaving. 
Let us suppose that you have selected a pattern 
that is seven rows of beads deep and you have chosen 
tan as the background and red and chalk white 
beads for the decoration: 

First row — Thread one red bead, six white, one 
red, six white. As we will only work a section at 
a time, let us secure the beads. Slip your thread 
under the hemstitching. Now let each bead come 
between two consecutive groups of hemstitching. 
Bring your thread to the right side. Be careful 
not to disturb your beads. Now carry the thread 
through the beads again. The thread should be 
drawn tight but not so as to pucker the hem. 

Second row — Work this by stringing one white, 
one red, four white, one red, one white, one red, 
four white, one red. Fasten as described in the 
first row. 

Third row — One red, one white, four red, one 
white, one red, one white, four red, one white. 
Fasten. 

Fourth row — One red, one white, one red, four 
white, one red, one white, one red, four white. 
Fasten. 

Fifth row — One red, one white, four red, one 



292 NEEDLECRAFT 

white, one red, one white, four red, one white. 
Fasten. 

Sixth row — One white, one red, four white, one 
red, one white, one red, four white, one red. Fasten. 

Seventh and final row — One red, six white, one 
red, six white. Fasten. 

After this section is worked sHp your needle 
through the beads to the last one on the first row 
and continue to weave. 

The beads to use for portieres or large pillows 
are round ones that are three eighths of an inch 
in diameter. 

For curtains, table covers or any article where the 
weight of the large bead is not desirable use a smaller 
bead that is not more than a quarter -inch in size. 

Scrim curtains with a single row of the smaller 
beads add a pretty touch of colour to the otherwise 
plain window. Almost any shade can be had in 
the beads, but the trouble is that they can not be 
bought at every store. A bead supply house is the 
one from which to get them. They cost only one- 
quarter as much as when bought in a department store. 

Ecru scrim with a row of turquoise blue, canary 
yellow and sage green beads and the simple 
twist stitch such as described in the chapter on 
"Simple Stitches in Drawn Work," makes a curtain 



NEEDLECRAFT 293 

suitable for a simple room. The way to accomplish 
this work, is to take a stitch on the drawn thread, 
in the regular way for the twist stitch, then slip a 
bead on, then take another stitch, then a bead, so 
on to the end. 

If a skeleton square of beads is desired on a sofa 
cushion it is advisable not to draw it out in the same 
manner as for a curtain. 

For a two-inch border to be set in four inches from 
the edge, crease the cushion through the direct 
centre. Measure four inches from the edge and 
cut the material on the crease for two inches. 
Treat each side like this. Draw the threads out 
on each side of the cut, stop when you get four 
inches from the edge. Of course the material must 
be in a perfect square and just the size you want for 
the pillow before you begin any of the work. Place 
the beads as explained for the portiere. Do not cut 
the threads you drew out but, threading a needle 
with two or three at a time, carry them through the 
beads. In this way there is no necessity for cutting 
and buttonholing the corners where the border 
intersects, as in drawn work. Loose woven materials 
such as monk's or arris cloth are extremely hard to 
buttonhole and even after very careful work they 
are apt to fray. 



294 NEEDLECRAFT 

If a fancy edge is desired for the pillow one made 
of beads is far more appropriate than anything 
else. After the pillow is complete and made up, 
put on the bead edge by catching a bead to the 
material at a short distance from each other. 

For a canoe or porch pillow there is nothing more 
durable than bead pillows of a dark colour worked 
with gay coloured beads. 



XXVI 



BRAIDING AND WEAVING FOUR AND SIX STRANDS 
WEAVING ON LOOMS 

BRAIDING or plaiting can be done in any 
materials and may be used for shopping 
bags or circular rugs. RaflBa, corset laces, 
heavy silk floss or rags can be utilized for the braiding. 

It is extremely difficult to conceal the ends when 
three strands are used so for that reason I have 
selected four strands to commence with. 

When working with cords or very long strands 
of material, knot the 
four ends together. Pin 
the knot to your knee 
and proceed to weave. 
Take the extreme left- 
hand strand and weave 
under the next strand. At the same time weave 
the extreme right-hand strand over the next. 
Cross the two strands in the centre. (See Figure 
222.) If a knot is not desired at the start the 
cords may be commenced as shown in the Figure 223. 

295 




Fig. 222. The strands crossed 



NEEDLECRAFT 



To braid with six strands take the extreme left- 
hand strand and weave under and over to centre 
and with the right-hand strand weave over and 
under to centre and cross the left-hand strand (see 
Figure 224). 

After the braid has been made it can be sewed 
together for a mat. In joining a 
strand insert the new piece so 
that it extends a little beyond the 
braid. If a long braid is desired it 
is best to have the strands of differ- 
ent lengths so that the joinings will 
not be all in one place (Figure 225). 
When braiding or weaving with 
rags cut the strips about three 
quarters of an inch wide. Old rags 
can be used for this, cutting out 
the weak parts. Cheap cotton fab- 
rics when new make excellent mats. 

Weaving on frames is very interesting and not 
such a difficult task as you imagine. There are hand 
and treadle looms. The following instructions will 
be for the former. A stretcher such as artists use 
for painting can be used or four pieces of board 
twenty-four inches long by four inches wide and one 
inch thick. Take the four pieces to form a frame. 




Fig. 223. The way 
to commence braiding 
without a knot 




Photograph l>\ tddoweb Co. 



A Cushion Top Can be Woven on a Simple Hand Loom 



NEEDLECRAFT 297 

Buy three half -inch dowels or long round sticks; 
which may be bought from a hardware shop; and 
sand-paper till they are quite smooth. Screw in 
four large picture rings two on 
each side of the frame, one at 
each end. Slip one dowel 
through the rings at each end 
and tie to picture ring. 

Thewarpmay be cord which 
is sold by the pound or a 
heavy soft twine. A whole- 
sale cord or rope house will 
be the best from which to buy 
the warp. 

A thin board such as you 
have in your window shades 
and to which the string is 
attached makes a good 
shuttle. Cut it so that it is twenty-two inches 
long and wind the warp on it lengthwise. 

Tie one end of the warp thread to the lower left- 
hand picture ring. 

Lay the warp threads over the lower dowel, up 
through the frame and over the upper dowel. Re- 
member always to lay the thread outside and over 
each dowel. The first six threads are placed very 




Fig. 224. Braiding with six 
strands 



298 NEEDLECRAFT 

close to each other. After that the threads are 

laid half an inch or a little more than a quarter of 

an inch apart. The finer the weaving the more 

warp threads will be needed. 

The usual allowance is from four 

to eight threads to an inch. 

Two plain boards that are as 
long as the dowels and three 
inches wide by a quarter of an 
inch deep will be required now. 
Slip into one of these boards at 
each end between the warp 
threads and bring the boards 
to the centre and tie together 
to keep them from slipping. 

Take a piece of cord nine 
inches longer than a dowel and 
tie to the throat of the lower 
left-hand screw. Make a knot 
at first warp string and slip it over dowel. Twist 
the double thread two, three or four times. Re- 
peat slipping over dowel and twisting between 
every two warp strings until you reach the right hand 
screw. Tie the threads to the screw. This is called 
pairing the threads. Repeat the pairing at the 
other dowel. When the pairing is finished slip the 




Fig. 225 

join a braid 



The way to 



NEEDLECRAFT 299 

lower dowel out of the rings and tie the dowel again 
to the screws. 

To space the warp threads an upholsterer's needle 
and carpet thread will be needed. 

If the weaving occupies the full size of the frame, 
hitch or tie the carpet thread to the lower left-hand 
screw, while if the warp threads do not extend very 
far over place an extra screw on the outside of the 
frame where the warp threads begin. 

Buttonhole stitch over the dowel keeping the 
lower thread down and the upper thread on top. 

Hold the warp threads apart with finger of the 
left hand while buttonholing. Pull your stitches 
tight. Two or three stitches should be made be- 
tween each two warp threads. The stitches must be 
an eighth of an inch apart. 

Now we are ready for the bridge. 

Two feet, as they are called, will be necessary to 
support the bridge. A carpenter will make them 
for a small amount. They should be seven inches 
high by three inches wide at the base (Figure 226). 
One foot is placed in the centre of opposite sides of 
the frame and the third dowel run through the holes. 

Loosen the two boards at the centre and place 
them close to the dowel. Place the bridge over the 
set of threads nearest you. Take a six-inch piece 



300 NEEDLECRAFT 

of cord and catch up first warp thread. Tie thread 
to bridge. All knots should be made like a weaver's 
knot. The loop should not extend lower than two 
inches below the bridge. 

This completes the setting up of the loom. To 
weave, the material may be cut as 
stated before or raffia or Indian fibre 
may be used. If the weaving is to 
be in one colour only, it is well 
to join the pieces together and 
wind on a long shuttle. If short 
pieces are used a hook will be re- 
quired. It can be made of a strip 
of wood taken from the hem of win- 
Fig. 226. The foot dow shadcs. Notch one end of it. 

A selvage will be necessary at the beginning and 
the end of the weaving and is done in a fine cord. 

Start at left-hand corner and tie the thread to 
warp. Pass the shuttle to right-hand side between 
the threads. Lower the bridge and pass the shuttle 
back again between the threads to left-hand side. 
Raise the bridge again and repeat as just explained. 
It will be best to comb down the woof to keep it 
straight and regular. A regular weavers' comb can 
be bought, but a coarse hair comb may be substituted. 
Six rows will be sufficient for the selvage. The 




NEEDLECRAFT 301 

regular weaving is worked the same only in coarse 
warp. Remember the bridge must be lowered every 
other time. 

In weaving a new thread or strand commence a 
little way back from where the last strand stopped. 

Learn to weave and you get much more artistic 
effects in rugs than ordinary rug or portiere weavers 
obtain. 

Beautiful cushions and other useful articles can 
be made by weaving. 

It is a great mistake to think that all cast off 
clothing can be woven into handsome rugs or 
portieres. True it is possible to weave them, but 
it is almost a hopeless task to get artistic effects 
from old coats or a lot of dark articles. 

The modern rug weavers get a few yards of cheap 
muslin in two or three shades and make a rug 
that can be sold for two or three dollars. Silk is 
not like old woolen materials, it can be utilized to 
the last thread because it is soft and works to good 
advantage. 

Two old silk petticoats will make two pillow tops 
that are artistic as well as useful. One of the most 
beautiful examples of silk weaving was a cushion 
I saw made from two old silk petticoats ; one was sage 
green and the other Delft blue. The strips were 



302 NEEDLECRAFT 

about one inch wide. All the worn parts were cut 
out. No piece was considered too small to use. 

Every pattern of rug has a name given it by the 
weaver. The most common pattern is the hit- 
and-miss. The name aptly describes it. There are 
never two hit-and-miss patterns that are exactly 
alike. To look at a collection of hit-and-miss rugs 
one is reminded of the Croton shrub which has no 
two leaves alike. As children, we used to call them 
Match-me-if-you-can trees. 

A hit-and-miss pattern is a good one to learn on. 

Do not weave first one green strip then one blue 
and so on, because you will get a jumble of blue 
that is neither interesting nor pleasing. Decide on 
which colour you would like for the background, 
then use most of that shade. 

I have heard an old weaver say that when she 
works the hit-and-miss pattern she will carry first 
one stripe of the background the entire way across 
and probably start the second row. A little strip of 
the second colour is then used and then the back- 
ground again. The good worker never cuts her 
strips all the same length but strives to get the 
eflPect of little slashes of colour against a solid back- 
ground. A rug made of medium blue and white 
rags suggests the sea with white caps on it. 



NEEDLECRAFT 303 

When an Indian weaves a rug, he sits on the 
floor and weaves, till he has to stand to work. 

Tapestry is woven almost the same as described 
for rugs; instead of the loom having a bridge that 
has to be moved by hand to regulate the threads, 
a treadle is used. 

The wrong side of weaving is always facing you 
on the loom and all ends are fastened afterward with a 
needle and thread. Perhaps you would be interested 
to know how a weaver makes a set design in tapestry. 
Usually an artist designs a piece, say a design for the 
back of a chair. Often the artist is the weaver himself. 
He will make two sketches in colour one to put under 
the warp threads and the other to keep in sight. He 
then starts to weave the design in as many colours as 
desired, then the background is worked. 

A piece of hand-made tapestry is a possession that 
only the very wealthy can buy for it is indeed excep- 
tional to find an ordinary weaver who can make 
tapestry. To the French is given the honour of 
being the most clever weavers in the world. As 
a general thing in France weaving is an inherited 
trade. You will find, if you ask the weaver what 
his mother, his father and his grandfathers were, 
he will tell you — weavers. The hands of the men 
are almost as small and soft as the women's. 



304 NEEDLECRAFT 

I have seen a beautiful screen that represented a 
pansy field, if you can imagine such a thing worked 
in over two hundred shades of silk. Every con- 
ceivable kind of pansy was worked in it. It was 
made for a man who loved pansies. It took four 
weavers three months in which to make it, working 
eight hours each day. 

Too much thought can not be given to the right 
colour for your rugs or whatever you intend to weave 
on your simple loom. Study to get harmonizing 
effects rather than contrasting ones. Gray is prob- 
ably the most pleasing of backgrounds and can be 
combined to advantage with almost any other 
shade. Remember that a dark room needs a cheer- 
ful colouring while a bright airy room can stand 
subdued shades. 

Red excites the nerves. Lavender is depressing. 
Blue is a cold colour and should be combined with 
other colours to be effective. Green is restful to 
the eyes in any shade, while yellow seems to reflect 
light and for that reason is to be highly recommended 
for use in a dark room. One of the prettiest rooms 
I know, which is ordinarily a very dark one, is one 
that has bright yellow and chestnut brown for its 
decoration. The minute you enter that room you 
are impressed with its cheerfulness and warmth. 



NEEDLECRAFT 305 

No matter how pretty and beautiful are the hang- 
ings and other dainty touches of a room, a rug remains 
the chief attraction. It is to a room what a vase is 
to a flower. A rug is not absolutely necessary, but 
unless it is the right kind your room looks patchy. 

As in everything else practice makes perfect and 
as soon as you become accustomed to weaving you 
will plan regular designs that will make the work 
more fascinating. If you have a large quantity 
of undefinable shades of silk or wool or cotton rags 
I would recommend that you dye them all one shade. 

One ten-cent package of a dye will colour a couple 
of pounds of rags. Get a dye that is good for all 
three kinds of material as sometimes a dye that 
changes the colour of silk may not affect cotton at all. 



XXVII 

SIMPLE CROCHETING, STITCHERY FOR EDGES AND 

SHAWLS 

CROCHETING ABBREVIATIONS. 



1. Slip stitch (si St) 






2. Chain stitch (ch) 


(Figure 


No. 227) 


3. Single crochet (s c) 


(( 


No. 228) 


4. Double crochet (d c) 


<( 


No. 229) 


5. Treble crochet (tr c) 


(( 


No. 230) 


6. Shell (sh) 


it 


No. 231) 


7. Stitches (sts) 







THE beginner in crochet will have very little 
trouble in learning the work as the stitches 
used are comparatively few in number 
although the various combinations in which they may 
be used are almost unlimited. It is wise to become 
accustomed to the stitches and especially with the 
abbreviations, which are used so extensively through- 
out all crochet work. No doubt the beauty and 
variety of the patterns one can execute, also the 
durability of the work are the chief causes for its 
popularity at the present time. 

The implement used is a crochet hook which 
varies in size according with the quality of the 

306 



NEEDLECRAFT 307 

thread used. The steel hook with the bone handle 
is to be preferred. 

Too much emphasis cannot be placed upon the im- 
portance of the position of the hands when working, 
and the firmness of the stitches, as the work is, 
at once, better and more even when the proper 
position is maintained. The crochet needle should 
be held lightly between the first finger and the thumb 
of the right hand; the hook horizontal and parallel 
with the first finger of the right hand, that part of 




Fig. 227. Chain stitch 

the work which is in course of construction being 
held closely between the thumb and third finger of 
the left hand. The thread is wound once around the 
first finger, passes under the second and third fingers 
of the left hand, and is wound around the small 
finger. It is now held in position by bending the 
fourth and small fingers toward the palm of the 
hand. 



308 NEEDLECRAFT 

The foundation stitch of all crocheting is the chain 
stitch (ch) (see Figure 227) which is begun by making 
a slip knot around the needle. Draw the thread 
through this loop, and you have a chain. Again 
draw the thread through this second loop, continue 
until the chain is of desired length. 

Another stitch is the slip stitch (si st). Insert 
the hook in the foundation work. Draw loop 
through the work and another through the loop on 
the needle. 

Single crochet (s c) . See Figure 228. 

Insert hook in work, make a loop on the hook and 
draw through, making two loops on the needle. 




Fig. 298. Single crochet 

Throw thread again over hook. Draw thread 
through both loops. 

Double crochet (d c). See Figure 229. 

Before inserting the hook in the stitch to be 



NEEDLECRAFT 309 

worked, put the thread around it. Throw thread 
around hook and draw the thread through the 
stitch and you will have three loops on hook. Throw 



^^.*l« 


^^ 


.^^^ 


^^ 



Fig. 229. Double crochet 

thread again around hook and draw thread through 
two loops. Throw thread again around hook and 
draw through the remaining two loops. 

Treble crochet (tr c). See Figure 230. 

Put the thread around the hook twice, insert 




Fig. 230. Treble crochet 

in the work. Draw a loop through work, making 
four loops upon needle. Draw the thread or loop 
through two loops on needle, then again through 



310 NEEDLECRAFT 

two loops and the third time through the remaining 
two loops. 

Shells (sh). See Figure 231. 

Shells are formed by making groups of either 




Fig. 231. Shells 

single, double or treble stitches worked into the 
same space or stitch. 

Edging and insertions are very much in use and 
are often applied to blouses, collars and cujBFs, towels. 




Fig. 232. Tiny insertion 

centre pieces, handkerchiefs, belts and various other 

articles. 

Tiny Insertion (Figure 232). 

Ch 7 catch into a ring and into one side of ring 
work 5 s c *ch. 7 catch in next to last s c, 5 s c in 



NEEDLECRAFT 311 

new ring. Repeat from * for length desired and 

fasten off. 

Tiny Edging (Figure 233). 

1st row — Ch. 9 turn. 

2nd row — 1 s c in each 9 ch, turn. 

3rd row — ch 9 work 1 d c in first s c made, turn. 

4th row — * Over ch work 9 s c Work ch of 9 
turn. 

5th row — 1 d c over the d c of preceding row. 
Turn. 

Repeat from* until you have length desired. 




Fig. 233. Tiny edging 

For the edging made: 

1st row — Over each d c on one side and each 
empty ch on the other work 4 s c. 

2nd row — Work 1 d c into first s c then * 2 ch, 
miss 2 s c and work 1 d c into next. Repeat 
from * along both sides of insertion. 
Loop Edging (Figure 234). 

Work 29 s c over a padding cord, then catch 
in 7th stitch made to form a ring. Again work 29 
s c and catch in the 7th stitch to form another 



312 NEEDLECRAFT 

ring. Continue until the edging is the required 
length. 

For the edge, begin at the first end for the picots 




Fig. 234. Loop edging 

and work as follows: make 1 s e into 8th stitch 
of first ring, ch 5, skip 1 sc — 1 scin next stitch. 
Repeat for three picots. Ch 2, begin in 8th stitch 
of next ring and make 3 picots there and so continue 
to the end of edging. 
Loop Insertion (Figure 235). 

Ch 10 and catch in a ring into one side of ring 
work 6 s c, ch 10, catch in the last s c forming a ring, 
and into new ring work 6 s c. Continue in this 




Fig. 235. Loop Insertion 

way for length desired. Then work down the 
other side of rings 6 d c in each. 

Now work down each side of insertion 1 s c in 



NEEDLECRAFT 313 

the centre point of each side of the ring and 5 ch 
between. In these eh loops work 6 s c each and 
fasten off. 
Narrow Crochet Edging (Figure 236). 

Chl4. 

1st row — 1 d c in 10th ch from needle, ch 3, 1 d 
c in same st. Ch 3, 1 d c in next st, ch 3, 1 d c 
in same st. 3 stitches on foundation will stand be- 
yond the row. 

2nd row — Ch 6 turn *1 d c in centre loop of 




Fig. 236. Narrow crochet edging 

cluster of three, ch 3 repeat from * 2 times. 1 d c 
in same space, ch 2-1 d c in third ch of turning loop. 

3d row — Turn ch 5 * 1 d c in centre of loop of 
clusters, ch 3 repeat twice from * 1 d c in same 
space * ch 1-1 d c in 6 ch loop, repeat from * 7 
times ch 1-1 s c in end of foundation. 

4th row — Turn ch 6-1 si st in fourth ch from 
needle ch 1-1 d c in next space between d c, ch 
5-1 si st in fourth ch from needle, ch 1-1 d c in 
next space. Repeat from * 5 times. Ch 3-1 d c 



314 NEEDLECRAFT 

in centre loop of 7 ch clusters, repeat from three 
times more ch 2, 1 d c in third ch on turning loop. 

5th row — Turn ch 5, make clusters in centre loop 
as with other row. Repeat from 2nd row. On 
each repetition of 3 row the final s c is taken up in 
the loop of 3 ch of the former scallop. 
Cone Insertion (Figure 237). 

1st row — Ch 15 turn 1 d c in ninth ch from needle, 
ch 3 skip 2-1 d c in next, ch 3 skip 2-1 d c in last 
stitch. 

2nd row — 4 s c in first space, ch 1 in second space 
work 2 d c — 1 tr c, ch 3, 1 tr c, 2 d c, ch 1, in 
third space work 4 s c. 

3d row — Ch 10, one si st over 3 ch — ch 5, 1 tr c 
in last s c of preceding row. 




Fig. 237. Cone insertion 

4th row — 4 s c in first space, 1 s c in same space 
with si st, 4 s c in next space. 

5th row — Ch 6, skip 2 s c of preceding row, 1 d e 
in next stitch. Ch 3, skip 2-1 d c in next stitch. 3 
ch, skip 2-1 d c in final st. Repeat from beginning of 
second row. 



NEEDLECRAFT 315 

Crochet Insertion with Ribbon (Figure 238). 

Make a eh of 35 stitches: 1 d c in 7 st from end 
of ch, 3 eh, 1 d e in next 3 rd st of eh, 3 ch, 1 d c 
in next 3d stitch of ch, 3 ch, 3 d c in 5th of ch, 3 ch, 
3 d c in same st as last 3 d c to join shell, 4 ch, 3 



Fig. 238. Insertion with ribbon 

d c in next 5th st of ch, 3 ch, 3 d c in same stitch 
as last three, 3 ch, 1 d c in next 5th of ch, 3 ch, 1 d c in 
next 3d of ch, 3 ch, 1 d c in last stitch of ch, 8 ch; 
turn. Work the next and every succeeding row the 



316 NEEDLECRAFT 

same. Run narrow ribbon under and over 3 ch. in 
centre. This trimming is very pretty when used on 
a blouse waist. 




Fig. 239. Rainbow shawl 

Rainbow Shawl (Figure 239). 

Either Saxony or floss may be used, about six 



NEEDLECRAFT 317 

skeins of white and half a skein of each of the colours 

used being necessary. 

To form main part of ShawL 

Ch 68 sts of white. 

1st row — Turn and work back thus: Draw out 
st on hook about three-fourths of an inch, pass hook 
under the single thread of wool, draw through st, 
pass it under wool, work a si st, 1 ch (in the way 
you work first st of every row). To make second st* 
pass hook through second, draw up to three fourths 
of an inch, catch the wool and make 2 close ch : re- 
peat from * to end of chain. Turn and repeat from first 
row till you have worked 76 rows in the white wool. 
To make the Rainbow Stripe on either end of white. 

Fasten in the pink wool and work two rows, then 
in the order named — yellow, orange, light green, 
dark green, indigo, light blue, violet. Finish the 
end with two or more ^ 

Finish both edges of Fig. 240. Cross stitch 

scarf with a row of knot stitches. 



318 NEEDLECRAFT 

CrocA^^ Scarf (Figure 241). 

Material, 8 skeins Shetland Floss. 

Directions for Cross Stitch (see Figure 240). 

Make a chain the desired length: work 1 tr c in 
the fourth stitch of ch. Now stitch back into the 
first and second of ch and make a tr c in each. 
(This forms a cross stitch.) Repeat to end of chain. 




Fig. 241. Shawl in cross stitch 



NEEDLECRAFT 319 

To make Scarf. 

Ch 139 stitches. 

Work 34 cross stitch on ch; continue working 
back and forth with cross stitch until scarf measures 
IJ^ yards in length. Finish ends with a fringe. 
Each strand is 6 inches and 8 strands of wool are 
knotted to each cross stitch to form fringe. 



XXVIIl 

PATTERN DIRECTIONS FOR MAKING DOLL CAPS AND 

CAPES, JACKETS AND CHILD'S BEDROOM 

SLIPPERS 

HAVING become well acquainted with the 
stitches and patterns described in the pre- 
vious chapter, you are competent to go on 
with the more intricate ones described in this chapter. 

A pretty doll's cap is made of silk. Without 
a silk padded lining the cap will be just the thing 
for the warmer months. 
DolVs Cap. 

Begin by winding silk around a lead pencil 12 
times; make 24 s c over this. 

2nd row — Make 2 s c in every s c on first row. 

3rd row — S c in every s c on 2nd row. 

Continue widening often enough to keep the work 
nearly flat (to do this two s c instead of one are 
worked upon the one of the preceding row). This 
completes the solid work of the crown. 

4th row — Ch 3, make 3 d c in same stitch, skip 
4 d c in next st. Continue around entire crown. 

320 



NEEDLECRAFT 321 

5th row — Make a shell of 6 d c in centre of 
each shell of 4 d c, leaving oflf within 7 shells of 
last row. 

6th row — Make a ch of 5 st and s c in middle 
of next shell. Ch 5, s c in middle of next shell. 
Continue around entire crown. 

7th row — * 5 s c on each ch of 5 of previous 
row. Turn s c for entire row around to where 
the shells of 4 were left. This begins the front of 
cap. Turn and repeat from * 2 more rows. Next 
make a row of shells of 4 st in every 5th st. 

8th row — Make shell of 5 d c in middle of 
each shell of 4 d c. Repeat these 2 groups of 4 
rows of s c and 2 rows of shells twice more. 

9th row — A row of 5 ch in middle of each shell, 
then a row of s c. Finish the cap with a row of 
shells of 7 d c around the entire cap. Finish shells 
with a row of picots made by a ch of 3 caught in 
every st with a s c. This completes the cap. 
DolVs Hug-Me-Tight (Figure 242). 

1 skein of Saxony white. 

1 skein of Shetland floss, blue. 

IJ^ yards of narrow white ribbon. 

Make a ch of 20 st., take up each ch with a s c. 

Turn 19 s c in slipper stitch (slipper stitch is s c 
taken up on the back thread of the row below). 



S2^ NEEDLECRAFT 

Crochet back and forth in this manner until you 
have 8 ribs or 16 rows which form the back. Then 
take up 5 s c and crochet back and forth until you 
have 9 ribs or 18 rows, which forms the one front. 




Fig. 242. Doll's Hug-me-tight 

Then count nine stitches for the neck, taking up 
the remaining 5 sts for the other front and make 9 
ribs or 18 rows for the other front. Finish with a 
border all around of s c taking up the whole stitch, 



NEEDLECRAFT 



323 



alternating the colours, 1 row blue and 1 white until 
you have four blue and four white, finish the whole 
with a blue pieot. 

Cut the ribbon into six pieces, sew one piece in 
each of the outer edges to form the armhole and 
front as illustrated. This jacket can be made for a 
child by commencing with 45 ch, 25 ribs for back 
and 25 ribs for fronts. 
Jacket ( Figure 243). 




Fig. 243. Jacket in star stitch 

Pompadour wool through which a thread of silk 
runs, was used for making this pretty jacket. 
Three skeins of the wool are required. 

The body of the sacque is of star stitch (Figure 
244). 



324 NEEDLECRAFT 

Ch 95 on which work 11 stars widen with 2 ch. 

For sleeve make 11 stars, and back, 25 stars. 

One front 1 1 stars. For the first 4 rows of front work 
11 stars, widen with 2 ch work across sleeve, widen 
2, work across back, widen 1 star every other row; at 
sleeve widen 2, across sleeve widen 2, then 11 stars 
from the front. After the 4th row continue as 
before, only widening 1 star at the four sleeve points 



--^^^ 




r.. , ^^^^"^ 





Fig. 244. Star stitch 

for 10 rows. In 15th row work 11 stars for the 
sleeve, now drop out the entire sleeve, including the 
widening points, work across back alone, leave out 
sleeve as before then 11 stars for the second front; 
work 12 rows across sacque widening under arms 
as in centre back. Tie wool at point under arm and 
work 13 rows around sleeve joining each row as 
made. For border, work 4 rows of knot stitch. 
Slippers in single crochet (Figure 245). 

One skein of each of two contrasting colours of 
Germantown wool, one pair of soles. For making 
these slippers in mercerized Perle cotton, which is 



NEEDLECRAFT 

very cool for warmer 
days, two balls will be 
required. 

In making slippers 
it is very essential for 
the work to be as tight 
as possible to prevent 
it from stretching. 

The following direc- 
tions are for slipper 
size 3. Ch 11 sts. 
Make 11 s c in slipper 
stitch, described in 
doll's hug-me-tight 
(Figure 246) widen 
in the centre by mak- 
ing 3 s c in 1 ch. 
Make two rows like 
last widening in cen- 
tre, then a row 
without widening. 
When the work reach- 
es from the toe to 
the hollow part of the 
sole (about 12 ribs) the 

front is long enough. Fig. 245. Slipper in single crochet 



325 




S^e NEEDLECRAFT 

(Alternate two rows one colour and two in the 
other.) Turn and work 15 s c. Continue in the 
slipper stitch until the work will reach around the 
sole by stretching. Join the end to the front by- 
overcasting on the wrong side. Beginning at the 
corner where the end is joined make a row of crazy- 




Fig. 246. Slipper stitch 

stitch around to the other side. Make 3 more 
rows of crazy stitch. Finish with a row of shells. 

Directions for crazy stitch — Make a ch of 4 sts; 
then throw the thread once over the needle, take 
up the third nearest stitch to the needle, and pull 
it through the loop; throw the thread over again 
and pull it through the nearest two loops on needle 
and crochet the remaining two loops off in the same 
manner. This completes the d c described in 
chapter 27. Make two more d c in the same loop, 
skip 3 stitches, fasten with a si st in next st 3 ch. 
4 shells in next st. and continue for length desired. 
Slippers in Star Stitch (Figure 247). 

4 balls of mercerized crochet cotton. 



NEEDLECRAFT 327 

Star stitch is made by a ch of the required length. 
Insert hook in 2nd eh from it, draw wool through, 
keeping both sts on hook, insert hook in 3rd ch and 
draw wool through keeping this st also on the hook, 
skip the next ch and take up the 4th and 5th in same 
manner, making 5 sts on hook; now drop the strands 
of wool from which these sts were made, and take up 
wool of contrasting colour, double end into a loop 
with short end about one inch in length, draw this 
through all the sts on hook, being careful not to let 
this short end slip through, ch 1 to hold sts in place. 
Now with this new strand work a star by drawing it 
through the eye of star, it being the tightest stitch 
near the ch on hook keeping both sts on hook as 
before. 

Draw wool also through long st down the side of 
star, then through next 2 ch which gives 5 sts on 
hook, then dropping the strand from which this star 
was made pick up the wool of 1st star and loop it 
through these 5 sts and ch 1 to hold the star in place. 
This ch should be worked tight so it will draw the 
sts together and form the star, which should be 
almost square. In the second row place the con- 
trasting colour over the star underneath, tying in 
the wool, ch 3 on which take up 2 sts; this gives 
you 3 sts on hook, the next 2 loops are drawn through 



3^8 




Fig. 247. A slipper in star stitch 



NEEDLECRAFT 

the long and short 
stitches of star under- 
neath, taking up back 
stitch of the long and 
both strands of the 
short or eye of star. 
For the slipper proper. 

Ch 9, on which make 
3 stars, 2 ch at end then 
work 3 stars down the 
other side of ch, taking 
up the other thread. 

2nd row — 4 stars, 2 
ch, 4 stars. 

3d row — without 
widening. 

Widen 2 stars every 
other row until you 
have 10 rows 2 rows 
without widening, then 
widen in the next. 

There will be 13 rows 
in all, and 20 stars in 
this last row, now di- 
vide front and work 
20 stars on either half 



NEEDLECRAFT 329 

for the sides; fit around sole by stretching and 
sew up the back on the wrong side. The wool or 
thread should be broken at the end of each row. 
(Crochet should not be worked backward and for- 
ward unless directions are given to that effect.) 

For a frill around the slippers work groups of 
6 ch st two more rows of the same. I always sew 
my slippers onto the soles after being finished, by 
overcasting with wool of the same shade on the 
right side, which saves stretching the slippers all 
out of shape when turning them. 
Jacket in Shell Stitch (Figure 248). 

Material: 5 skeins of white Germantown and 1 
skein of colour for edge. No. 7 bone needle. 

Ch 127, with 3 extra sts for turning. 

1st row — Skip 2 ch and make 4 d c in the next. 
* Skip 3 ch, 1 s c in next, ch 3, 4 d c in same st with 
s c and repeat from * ending with a final s c. 

2nd row — Turn 1 s c in s c below * 2 d c in same 
st, 1 s c in next s e below and repeat from * ending 
with a s c in top of turning ch. 

3rd row — Turn ch 3, 4 d c in s c below * 1 s c 
in next s c, ch 3, 4 d c in same st repeat from * to 
end of row. 

Repeat 2nd and 3rd rows 9 times, then repeat 
the 2nd row once more. This gives a depth of work 



NEEDLECRAFT 

suflScient for the back part of sleeves. At the end 
of the last row fasten off. 

The lower part of the back is now to be made. 
Count 8 shells (sh) along from the end of the last row 




Fig. 248. Half of a jacket in shell stitch 

and begin to crochet there, working as with 3rd row 
until within 8 sh of each other end of last long row. 
Crochet in pattern upon this row until 11 rows in 
all have been worked. Upon the 12th row increase 
1 sh in the 2 s c from each end by making 2 sh in 
those st instead of one. 



NEEDLECR!^FT 3S1 

Work without increasing for 13 rows more, then 
fasten ofiF. 

Go back to the foundation and upon the other 
side of it, beginning where the first row ended, crochet 
13 sh as in 1st row. This is the commencement 
of the left shoulder and front. 

Upon this row work 3 rows more in the usual way. 
At the end of the last row drop the loop temporarily 
from the needle, tie in an extra ball of wool at the 
top of the very beginning of the last row, ch 12 and 
fasten off. With this ch the extra width for the 
centre of the front is secured. 

5th row — Again take the dropped loop upon the 
needle and crochet as usual making 3 sh upon the 
extra ch. The row is now 16 sh wide. Work in 
pattern for 17 rows more, the last row ending at the 
wrist. Fasten off. 

On the 1st short row of lower front count 8 sh 
along from end of last row, begin there, work as 
usual to the other end, then crochet back and forth 
until the front is as long as the back, increasing 1 sh 
on the 13th row in the 2 s c from the underarm 
seam. The second front is made exactly like the 
first. The 3rd pattern row now is worked up the 
fronts around the neck, across the lower edge of 
jacket and sleeves, then finished with a scalloped 



332 NEEDLECRAFT 

edge worked as follows: Make 1 s e in space 
preceding st where s c was made on row below, 
ch 5, 1 s c on top of 1st d c below, ch 4, 1 s c in same 
space, ch 5 and repeat from beginning around all 
the edges, fasten off. 

Shape the jacket by crocheting the sleeves and 
underarm seams together. 

Crochet should be carefully washed and should 
not be put in the general laundry. Make suds of 
warm water and a little borax. Put the article, if of 
cotton or linen thread in and let it soak for a little 
while, then squeeze the water out of the article 
between the hands. Rinse in several waters in this 
manner always using warm water. 

Put the piece in a white bag and hang on the line. 

This way keeps the piece from stretching out of 
shape. Keep it on the line till the article is per- 
fectly dry. 

Knitted articles should also be treated in like 
manner when washing for if a knitted piece was 
pinned on a line to dry the article would be 
stretched out of shape. 



XXIX 

IRISH CROCHET LACE 

IRISH CROCHET lace is one of the most durable 
of laces and is suitable to be worn for all 
occasions. It especially recommends itself 
for pick-up or porch work. It looks well and 
does not take an endless while to make, as almost 
every motif is made separarely thus giving a variety. 
And although one may not have more than a few 
minutes to devote each day to the work, it is sur- 
prising how many articles can be completed with 
little effort and little time. 

The materials necessary are a steel crochet hook, 
considerably finer than for ordinary crochet work, 
as the work must be very firm, even and close. 
Irish Crochet Thread, numbers 36 to 50 or D. M. C. 
cotton numbers 70 to 100 inclusive and number 
10 for the padding cotton will be needed. All 
laces look better if pressed before making up, this 
is especially true of Irish Crochet. And when slightly 
soiled it can be washed in soap suds, made from any 
good laundry soap; rinse thoroughly in several 

333 



334 NEEDLECRAFT 

waters, starch slightly and iron on the wrong side 
on a heavy blanket. These simple directions help 
to make the lace look like new. In Irish Crochet 
the motifs are made separately mostly worked over 
a padding cotton. 

Then these motifs are basted on a pattern of 




Fjg. 249. Doily with crochet edge 

cambric, or paper muslin which has been cut to the 
desired shape. A row of chainstitching is worked 
and basted to the edge of the pattern, then the filling 
in background is worked, joining the dififerent motifs 
together with rows of chainstitching and picots or 
any other background stitch desired. 



NEEDLECRAFT SS5 

Doily with Irish Crochet Edge (Figure 249). 

This can also be used for a bread plate. 

1st row — around a 24 inch circle of linen work 
a row of single crochet. 

2nd row — 5 chain, miss 3 single crochet and 
fasten with a single crochet in the 4th stitch; continue 
around mat. 




Fig. 250. The design for the belt 

3rd row — Into each group of chains work 3 
single crochet, 1 picot, 3 single crochet. 

4th row — 6 ch fasten in the picot loop. 

5th row — 3 single crochet, picot, 3 single crochet 
1 picot, 3 single crochet, 1 picot; continue all around. 
This completes the mat. 
Belt of Irish Crochet (Figure 250). 

This belt is very useful, especially as it is mounted 



336 NEEDLECRAFT 

upon a foundation, which is the ordinary cotton 
waist belting, one inch wide sold at all notion counters 
for a few cents. The crochet belt is basted upon 
this belting after being stretched and starched. 

To make the belt : 

1st row — Chain 26, turn. 

2nd row — 1 double crochet in 6th stitch of 
chain, chain 2, miss 2 stitches and work 1 double 
crochet in 9th stitch of chain, chain 2, miss 2, chain 
and work 1 double crochet in 12th stitch of chain, 
chain 5, skip 5, chain, 1 double crochet into 17th 
stitch of chain, chain 2, 1 double in 20th stitch of 
chain, chain 2, miss 2 chain, 1 double crochet into 
23rd stitch of chain, chain 2, miss 2 and work 1 
double crochet in 26th stitch. 

3rd row — Chain 5, 1 double crochet in top of double 
crochet of preceding row, chain 2, 1 double crochet 
in top of double crochet, chain 2, 1 double crochet in 
top of double crochet, chain 2, 1 double crochet in top 
of double crochet, 5 double crochet over chain of 5, 1 
double crochet in top of double crochet, 2 chain, 
1 double crochet in top of double crochet, 2 chain, 1 
double crochet in top of double crochet, chain 2, 
1 double crochet in 2nd stitch of chain of 5 at the 
end; turn and repeat from 2nd row for length re- 
quired. For the edge, work on both sides of the 



NEEDLECRAFT 337 

belt into every chain loop 3 single crochet, 1 picot 

3 single crochet. 

Rose Tie vyith lawn facing (Figure 251). 

This bow has an under facing of lawn with a 
simple crochet edging of double crochet and chain 
stitch with picots, worked at even intervals. For 
the crochet tie: 




[Fig. 251. Rose tie with lawn facing 

1st row — Work rose the same way as the one 
in the wheel tie. Now crochet around the rose 
in this manner * chain 3, 1 single crochet caught in 
the 1st double crochet of the rose petal, 5 chain, 
1 double crochet in 5th stitch of petal, chain 5, 1 
double in 8th stitch of petal, 5 chain; repeat from * 
five times more. 

2nd row — 5 chain, 1 single crochet in each pre- 
vious group of 5 chain, continue around entire rose. 



338 NEEDLECRAFT 

3rd row — 6 chain 1 single crochet in each pre- 
ceding loop of chain. 

4th row — * 6 chain, 9 double crochet in first 
space, 6 chain, 1 single crochet for next 4 spaces, 
6 chain, then 9 double crochet in 5th space; repeat 
from * twice more. 

5th row — * 6 chain, 1 single crochet in 1st 
double crochet of group, 6 chain, 1 single crochet 
in 5th double, 6 chain, 1 single crochet in 9th 
double; repeat from * all around. 

For the next two rows work 6 chain, 1 single 
crochet in each previous group of chain. Finish 
the edge with a row of chain and picot. 

Work two sections like the one described and fasten 
together in the centre. Sew this upon the lawn 
facing and the tie is complete. 

If the tie shows any tendency to cap in the course 
of construction add an extra chain in the group of 
chain stitches every now and then. 
Wheel Tie with Rose and Straps with Shamrock (Fig- 
ure 252.) 

Wind padding cotton 6 times around the crochet 
needle. Over this ring work: 

1st row — 50 double crochet. 

2nd row — Chain 5, miss 2 double crochet,* in the 
third stitch, work 1 double crochet, 2 chain, miss 



NEEDLECRAFT 

2 double crochet repeat from * 24 times. Work 
a spider in the centre of the ring, with a needle 
and thread. 

Make 8 of these 
wheels for the tie. 
Join together with fill- 
ing stitch (3 chain and 
a single crochet). After 
working 3 chains and 
a single crochet around 
the edge of the tie, work 
1 single crochet in first 
space, 3 chain, 1 sin- 
gle crochet in second 
space, 3 chain * 1 dou- 
ble crochet, 7 chain in 
third space (catch 
back into second chain 
from needle to form 
a picot chain) repeat 
from * 4 times more, 
chain 3, 1 single cro- 
chet in next space, chain 3, 1 single crochet in sec- 
ond space. Continue in this manner all around tie. 
For rose in centre of tie, 

1st row — Chain 6, join in a ring. 




Fig. 252. Wheel tie with rose and 
straps with shamrocks 



340 NEEDLECRAFT 

2nd row — Chain 6*1 double crochet into ring, 
4 ch 1 double crochet, 4 chain repeat from * twice 
more and join. 

3rd row — Over first 4 chain work * 1 single 
crochet, 5 double crochet, 1 single crochet; repeat 
from * 5 times. 

4th row — Work a row of 7 chain loops fastening 
at back of first row of single crochet (this is what 
helps to form the rose petals and makes them stand 
one above the other). 

5th row ~ Over these loops work * 1 single 
crochet, 7 double crochet, 1 single crochet, repeat 
from * all around. 

6th row — A row of 9 chain loops. 

7th row — Into these loops work 1 single crochet, 
9 double crochet, 1 single crochet; this completes the 
rose. 

Let me mention here that roses can be substituted 
for the shamrocks worn on the ends of the straps. 
For straps. 

Work 27 single crochet over a padding cord, 
join in a ring. Work 9 single crochet over padding 
cord, 1 chain, 9 single crochet, 1 single crochet, over 
padding cord into the chain stitch. Continue 
working 9 single crochet, 1 chain, 9 single crochet 
over padding cotton and fastening each time in the 



NEEDLECRAFT 341 

chain stitch with a single crochet, One strap is 
6 inches long and the other is 7 inches long. 

For the edge of straps work 2 chain, 1 double 
crochet, in first single crochet of previous row, 2 
chain, 1 double crochet in 3rd stitch, 7 chain count 
back 5 chains and slip stitch (to form a picot) 1 
double crochet in 5th stitch, 2 chain, 1 double 
crochet in 7th stitch, 2 chain, 1 double crochet 
in 9th stitch. Continue on both sides of straps. 
For the shamrocks. 

Wind padding cotton over the end of crochet 
hook 6 times. Over this ring work 30 single 
crochet * Over 3 strands of padding cotton work 
11 single crochet. Twist padding cotton in a 
downward loop and work 1 single crochet over 
crossing of padding cotton, continue 15 single 
crochet over the loop, draw padding cotton to pull 
loop up close and then work 11 single crochet over 
padding cotton alone. Miss 2 single crochet on 
ring and work 2 single crochet over padding cotton 
into next 2 stitches of ring. 

Turn, leave padding cotton, 12 chain, 1 single 
crochet into top of crossing loop, 12 chain, 1 single 
crochet into ring just before beginning of arch. 
Turn, over 12 chain work 4 single crochet, 1 double 
crochet, 1 treble crochet. Work 1 treble crochet 



S4^ NEEDLECRAFT 

into single crochet over crossing of loop. Continue 
over next 12 chain, 14 treble, 1 double and 4 single 
crochet. Work 4 single crochet over padding cotton 
into next 4 single crochet on ring, repeat from * twice 
more leaving out the 4 single crochet over padding 
cotton into the ring the last time. Turn, work a 
row of single crochet over padding cotton. Between 
petals take the needle out, insert in stitch half way 
between the petals, and pull loop through, this will 
give a better shape to the petals. Then continue 
with single crochet. 

For stem work 3 single crochet over padding cotton 
into ring. Then 40 single crochet over padding 
cotton alone, turn knd work 40 single crochet over 
padding cotton into the previous row of single crochet 
to the ring. To shape the stem to the right pull 
the padding cotton before working the second row 
of single crochet. 
Long Jabot (Figure 253). 

Over a padding cotton work 50 single crochet, 
turn, and work down other side, 41 single crochet 
over padding cotton into previous row of single 
crochet (leaving one-half of stem still to be worked). 

1st arm — Now twist the padding cotton under 
the stem, fasten with a slip stitch, over the loose 
padding cotton work 18 double crochet, turn and 



NEEDLECRAFT 



343 



work over padding cotton into each double crochet, 
18 trebles, fasten with a single crochet in the 5th 
single crochet of centre 
stem. 

2nd arm — Turn work 
over padding cotton, 10 
double crochet into dou- 
ble crochet of previous 
row. Now work 8 dou- 
ble crochet over padding 
cotton alone, turn and 
work 18 treble crochet 
over padding cotton into 
the double crochet of pre- 
vious row. Fasten in 
10th stitch, this com- 
pletes the second arm. 

Now work 8 arms more 
in the same way, then 
finish the stem with 9 sin- 
gle crochet over padding 
cotton into the other single crochet of stem. 

For the centre work over 2 strand padding cotton 
6 double crochet and fasten into the single crochet 
which connects the arms to the stem, continue all 
around centre and fasten oiBf. 




Fig. 253. Long jabot 



844 NEEDLECRAFT 

Work 36 chain, into these work 36 double crochet 
with 6 double on each end. Continue working until 
there are 4 rows of doubles. Connect the leaf to 
this with slip stitch, baste on paper and work 3 
rows of the filling stitch all around. 

1st row — For the edge, work 6 chain loops into 
every loop of previous row. 

2nd row — Over 6 chain loops work 7 single crochet. 

3rd row — 6 chain loops caught into every 4th 
single crochet. 

4th row — Into 6 chain loops work 4 single 
crochet, picot, 4 single crochet, then into 2nd or 
next loop work 4 single crochet, picot, 4 single 
crochet, into 3 loop work 4 single crochet. 5 chain 
turn and fasten in the 4th double crochet over 
2nd loop, turn and over chain work 4 double 
crochet, picot, 4 double crochet, then into the 3rd 
loop finish with the other 4 single crochet; repeat 
from * all around jabot. 
Baby Irish Lace, with Rose Leaf and Grapes (Figure 

254). 
For roses. 

Chain 12. Into chain work * 1 double crochet, 
3 chain repeat from * for 6 times more. Into each 
group of 3 chain work 1 single crochet, 6 double 
crochet, 1 single crochet making seven petals to a rose. 



NEEDLECRAFT 345 

For the leaves. 

Chain 8, join in a ring. Over this ring work 32 
single crochet without breaking the thread, chain 
8 and form another to the right and a little above 
the other ring, work 32 single crochet into this one 
also, again chain 8 and form a ring to the left of the 
first ring, fill this ring with 32 single crochet. 
For grapes. 

Chain 3, join. Fill chain with single crochet, 




Fig. 254. Baby Irish-lace edging 

continue] working around, widening as needed for 
3 rows. Decrease by missing a stitch occasionally 
to shape grapes. Just before finishing stuflF with 
cotton, make 3 grapes for each cluster and fasten 
into centre of leaf. Baste all motifs on muslin and 
fill with background stitch. For edge of scallop 
work groups of 6 chain caught down with a single 
crochet then * 4 single crochet into first space, 
2 single crochet into next space, 6 chain, turn, fasten 



346 NEEDLECRAFT 

into single crochet, turn, 3 single crochet over 
chain, picot, 5 single crochet, 2 single crochet into 
same space, 4 single crochet into next space, 6 chain, 
turn, and catch down beside first loop, turn, 4 single 
crochet over chain, 6 chain turn, catch down in 
centre of first loop, turn, 4 single crochet, picot, 4 
single crochet, into chain, 1 single crochet into next 
loop, picot, 3 single crochet, 4 single crochet into 
next space and repeat from * all around edge of lace. 
Dutch Collar (Figure %55), 

Begin the rose with a small thick ring made by 
winding the padding cotton ten times around the 
end of the crochet needle. Cover this ring with 
single crochet, cutting off the end of the padding 
cotton when the ring is three quarters covered. 
*Chain 6, catch down into the ring; repeat from * 
5 more times, dividing the spaces as evenly as possi- 
ble so the last chain is caught down beside the first 
one. 

Over the chain loop work * 1 single crochet 7 
double crochet, 1 single crochet, repeat from * 
all around. 

*Chain 7, catch down at back in the same stitch 
as that in which the chain loops of the preceding 
row was caught, repeat from * all around. 

Over chain loop * 1 single crochet, 9 double 



NEEDLECRAFT 347 

crochet, 1 double crochet. Repeat from * all 
around. 

*Chain 8 catch down in back same place as before. 
Repeat from * all around. 

*Over chain loops work repeat from * 1 single 
crochet, 11 doubles, 1 single crochet, this finishes the 
rose centre. 

*Now begin the first row around the rose * 7 chain 
3 picot, (catch back into third stitch) chain 7, picot, 
3 chains, catch down in first petal in outer row, re- 
peat from *^12 times more, spacing these picot loops 
evenly all around, catching the last one into the 
centre of the first. 

*Next work one picot loop catching in into centre 
of loop of row below, then a loop of 6 chains, repeat 
from * caught into centre of next picot loop. 

Turn and over this loop work 9 single crochet, 
turn, work 9 double crochet over the single crochet 
3 chain, catch down into same stitch as the 6 chain 
loop was caught. Work 2 rows of picot loops, then 
repeat from * all around finishing the row in the 
corner of the first 9 double crochet ornament. 

9th row — Work a row of plain picot loops. 

10th row — Work a row of plain picot loops. 

11th row — Another row of plain picot loops. 

Five roses are required for the collar. 



348 NEEDLECRAFT 

For the wheels. 

Over a padding cotton ring, work single crochet. 




Fig. 255. An Irish-lace Dutch collar 

Over a single strand of the padding cotton crochet 
into every single crochet, a single crochet, work 4 



NEEDLECRAFT 349 

rows the same way only add a picot in every 4th 
single crochet in the last row. Now begin the first 
row around the wheel * chain 7, catch into the last 
single crochet of the wheel, chain 7, picot, chain 7, 
chain 3, skip 2 stitches of the wheel and catch down 
into the 3rd with a single crochet, repeat from * all 
around. 

Next work 1 picot loop, catching it into the centre 
of loop in row below, then a * loop of 6 chain caught 
into centre of next picot loop. Turn, and over 
this loop work 9 single crochet, turn and work 9 
double crochet over the single crochet, 3 chain stitch 
down into same stitch as the 6 chain loop was caught. 
Work 2 more picot loops, then repeat from * all 
around finishing the row in the centre of the first 
ornament. 

Work a row of plain picot loop. Another row 
of plain picot loops. Make four wheels for the 
collar. 

Sew the roses and wheels firmly on the cambric 
pattern (the size and style having been cut out of 
the cambric). 

Placing them so as to leave room for a single 
row of picot loops to be worked between to join them, 
crochet a chain of chain stitches and baste them 
upon the edge of the cambric pattern. Fill the 



350 NEEDLECRAFT 

work out to the desired shape with the picot loops, 
which should contain the same number of chain 
stitches as the loops in the roses and wheels, 3 chain, 
1 double crochet, 3 chain, work a row all around 
collar, then begin the border or edge. Work around 
the inner edge and fronts of collar 4 single crochet 
into each loop, then around the lower edge * 4 single 
crochet in the first space, 4 single crochet in the 
second space, 2 single crochet in the third space; 
chain 6 down at the beginning of second space. 
Over the loops thus formed make 3 single crochet, 
picot, 7 single crochet, 2 single crochet into same 
(third) space, 4 single crochet into next space. 
Turn, 6 chain catch down into next to the last loop, 
turn, 5 single crochet over the loop, chain 6, turn, 
and catch down into centre of first loop. Turn, 
5 single crochet, picot, 5 single crochet over this 
last loop, 2 single crochet into the next loop, 
picot, 3 single crochet, repeat from * all around edge. 
Take the collar up from the cambric and press 
upon the wrong side over a blanket or heavy flannel. 



XXX 

KNITTING, PLAIN AND PURLING, WASH RAGS, AND 
FANCY STITCHES FOR SHAWLS 

THERE are certain terms used in knitting 
that are peculiar to the work. Until 
these terms are studied and practised, 
the instructions are as bad as trying to read a 
foreign language that you know nothing about. 

Knitting is usually done on two needles though 
there are times when more needles are used, for 
instance, in knitting stockings. 

Thread, silk or worsted can be used for the work. 
The latter is best for practising the first stitches 
or pieces. 

The first term we learn in knitting is "to cast 
on stitches " (Figure ^56), Select a pair of medium- 
sized wooden needles. Your worsted should be 
wound into a ball. ''Casting on" is the foundation 
for the work. Take a knitting needle in each hand 
between the thumb and first finger. Make a loop 
of the worsted over the left-hand needle near the 
end. Put your right-hand needle through this loop 

351 




Fig. 256. Casting-on 



352 NEEDLECRAFT 

under the left needle. Holding the needles in this 
position, throw the worsted around the point of the 

right-hand needle 
and draw the right- 
hand needle through 
the first loop. There 
is now a loop on each 
needle. Slip the last 
loop made over the 
left needle. * Both 
needles are in the one 
loop, the left on top 
of the right. Again throw the worsted over the 
point of the right-hand needle and draw the 
needle through with the loop on it. Slip this loop 
over the left-hand needle and repeat from *, till the 
number of stitches desired are cast on. 

The * indicates from which point the directions 
are to be repeated. 

The German method of knitting is to hold the 
work in the left hand and the worsted over the 
first finger, under the second and third and then 
over the little finger. 

To knit, the right-hand needle is in the first loop 
from the point of the other needle. * Throw the 
worsted over point of the right-hand needle and 



NEEDLECRAFT 353 

draw it through the loop. SHp the first stitch oflf the 
left needle and insert the right needle into the next 
stitch and repeat 
from *, till all the ^ 
stitches have been 
transferred to the 
right-hand needle 
(Figure 257). 

Remember t o 
hold the work in 
the left hand when 
starting to knit 
each needle or row. 




To purl (Figure 258). 



Fig. 257. Knitting (K) 

The work is held in the 
left hand. The 
worsted is brought 
in front of the 
work. The right- 
hand needle is in- 
serted through the 
stitch from right 
to left in front of 
the left needle. 
Pass the point of 

Fig. 258. Purling (P) ^j^^ ^.^^^ ^^^^,^ 

over the worsted and draw the loop through. Slip 




354 NEEDLECRAFT 

off the stitch on the left needle as in knitting. Re- 
peat in this manner until all the stitches are trans- 
ferred. 

Sometimes it is necessary to get rid of some of 
the stitches. In that case the needle is slipped 
through two stitches instead of one and the new 
stitch formed in the usual way. There are two 
abbreviations for purling two together. They are 
p. 2 tog. or p-n. The latter means purl narrow. 

When knitting, two stitches can also be taken 
together. The abbreviation for this is n. K. 3 tog. 
means knit three stitches (sts) together as one stitch. 

To slip-stitch means to take a stitch from the 
left-hand to the right-hand needle without knit- 
ting it, and its abbreviation is si. 

To bind or cast off means to slip the stitches from 
the needle so that you have a chain edge. Slip 
the first stitch and knit the second. You now have 
two loops on the right-hand needle. * Put the point 
of the left needle (from left to right) through the 
first stitch on the other needle. Hold the worsted 
tight. Slip the right-hand needle through the loop 
formed as described above and then slip the loop 
from the left needle. There is only one loop on 
the right-hand needle. Knit the next stitch and 
repeat from *, 



NEEDLECRAFT 355 

Casting oflP must be done loosely or the work 
will have a puckered appearance. 

It may be that you desire to widen the row of 




Fig. 259. A little girl's first piece of knitting 

stitches. Both widening and decreasing is done at 
the end of needle or row. Knit as usual till there 
remains but one loop on the left-hand needle. Insert 
the left-hand needle through the loop at the base 
of the last stitch. Bring worsted around the point 



356 NEEDLECRAFT 

and make a stitch as usual. The last stitch is 
knitted in the usual way. 

After you have practised the stitches with wool, 
it is well to buy a ball of coarse knitting cotton and 
a pair of steel needles. The cotton makes ex- 
cellent wash cloths. Cast on 50 stitches then knit 
or purl the same amount of rows as stitches. To 
make a fancy cloth knit three rows then purl three 
rows until you have the fifty rows. 

The long straight shawls are the most popular 
at present. 

A little one for yourself that would be quite 
pretty is made in pop corn stitch (Figure 260). 
It requires five skeins of worsted and a pair of wooden 
needles. 

Cast on 59 stitches on your needle. 

1st row — ^ K 1st, then knit two stitches together 
(2 K tog) the rest of the way. You now have 30 
stitches on your needle (Figure 260). 

2nd row — K first stitch, then knit the loop 
which is formed between the double stitches of 
the first row. Continue in this manner till you 
have again on the needle the same number you cast 
on — 59. 

3rd row — K plain all the way across. 

4th row — P plain all the way across. 




Photograph by Mary G. Huntsman 

Her First Knitted Shawl 



NEEDLECRAFT 357 

5th ro"v — K 2 together all the way across to the 
last stitch, then k that by itself. 

6th row — Same as second row. 

7th row — K plain. 

8th row — P plain. 

Continue in this manner till you make a scarf 
about one yard long. 




Fig. 260. The popcorn stitch 

The popcorn pattern affords good practice for 
the different stitches explained before. 

If a longer shawl is desired continue in the same 
manner. To make it broader it will be necessary 
to cast on more stitches at the beginning. 

A shawl may be finished in many ways. Some- 
times a little crochet edge is worked around it, or 



358 NEEDLECRAFT 

a chain stitch fringe can be made. The plain fringe 
is the one most used however. This is made by- 
cutting the wool about ten inches long. Take four 
lengths and slip them through and knot them into 
the border edge at each end of the shawl. This 
makes a fringe about five inches deep. 




Fig. 261. The basket stitch 

The basket stitch makes a thick shawl (Figure 
261.) 

To make a wide shawl in this stitch 10 skeins of 
German town wool will be required. 

Cast on 120 stitches. 

1st row — Knit plain. 

2nd row — * K 3, p 7, k 3, p 7, repeat from * 
to end of needle. 

3rd row — * K 7, p 3, k 7, p 3^ repeat from * 
to end of needle. 



NEEDLECRAFT 859 

4th row — * K 3, p 7, k 3, p 7 repeat from * 
to end of needle. 

5th row — P the entire row. 

6th row — * P 7, k 3, p 7, k 3, repeat from * 
to end of needle. 

7th row — * P 3, k 7, p 3, k 7 repeat from * to end 
of needle. 

8th row — Like 6th row. 

9th row — P entire row. 

Nine rows form the pattern, repeat from second 
row until you have a shawl two yards long. 



XXXI 

DOLL'S CAPE, HOOD, LEGGINGS AND JACKETS 

doll's cape. 

Material — 3 Fold Saxony, 2 Steel Knitting Needles No. 10, 
1 Steel Crochet Hook No. 6. 

COMMENCE with 1 stitch. Knit plain, in- 
creasing 1 stitch beginning of each needle 
until there are 30 stitches on needle. In- 
crease 1, knit 12 stitches, bind oflf 6 stitches, knit 
12 stitches. Increase 1 stitch beginning of needle, 
knit to end of row; turn, knit 1 row plain. Repeat 
until there are 15 stitches on needle. Now increase 
1 stitch at the neck and decrease 1 stitch at end of 
row, 1 row plain. Repeat 3 times more. Knit 
plain without increasing at front and 2 together at 
end of needle, until 1 stitch is left on needle, fasten 
off. Finish the right side same as left. Crochet 
a row of holes for ribbon, 1 chain, 1 double all around. 
With blue yarn crochet 1 row, 3 chain, 1 single. 
DolFs Jacket (Figure 263). 

Material — 3 Fold Saxony, 2 Steel Knitting Needles No. 16, 
3 Steel Knitting Needles No. 13, 1 Steel Crochet Hook No. 6, 



NEEDLECRAFT 



361 




Fig. 262. Doll's knitted cape 

Cast on steel needles No. 13, 64 stitclies, 1 plain 
1 purl for 26 rows, Knit 16 stitches; turn. Take 
another needle, knit the 16 stitches for 5 rows with 
No. 16 needles knit plain for yoke, decreasing 1 stitch 




Fig. 263. Doll's knitted jacket 



362 NEEDLECRAFT 

at the neck until there are 12 stitches on needle, 
knit plain until there are 7 ridges, bind oflP. From 
the 48 stitches left on needle, knit 32 stitches for 14 
rows; bind off. Finish left front same as right. 

Sleeves — Cast on steel needles No. 16, 26 stitches. 
Knit plain for 6 ridges. With steel needles No. 13 
knit 1 plain, 1 purl for 20 rows. Bind off 3 stitches 
beginning of each needle until 8 stitches are left on 
needle; bind off. Sew up seam and shoulder seams. 
Crochet a row of holes around neck for ribbon, 1 
chain, 1 double. With blue yarn crochet one row, 
3 chain, 1 single all around. 
DoWs Cap (Figure 264). 

Material — 2 Fold Saxony, 2 Steel Knitting Needles No. 16, 
2 Steel Knitting Needles No. 13, 1 Steel Crochet Hook No. 6. 

f5;^gr^=?=r:rr:^rriv With blue yarn cast on 

No. 16 steel needles 45 
stitches. Knit plain for 6 
ridges. With white yarn 
and No. 13 needles, 1 plain, 
Jj-v^^>i'f 1 purl for 17 rows. 
-^ Crown — Knit 29 stitches, 

knit 2 together; turn, knit 
Fig. 264. Doll's cap ^^ stitchcs, knit 2 together. 

Repeat until all side stitches have been worked up and 
the crown is complete. Then pick up stitches on both 



NEEDLECRAFT 



363 



ends, first on one side; turn, knit them plain, also 
the crown stitches, then pick up the stitches on that 
side and knit them. Make a row of holes for ribbon, 
yarn over needle twice, then knit ^ together to end 
of row. 1 row plain, knitting only 1 of the stitches 
cast on. With blue yarn crochet 1 row, 3 chain, 1 
single. 

Doll's Leggings (Figure 265). 

Material — S^Fold Saxony, 2 Steel Knitting Needles No. 13, 
1 Steel Crochet Hook No. 6. 

Cast on 32 stitches. 1 plain, 1 purl for 21 rows. 
Decrease beginning and end of needle. 
Knit for five rows. Decrease continu- 
ously 1 stitch beginning and end of 
needle every 6th row, until there are 
22 stitches on needle. Knit for 15 
rows. Bind off 6 stitches, knit 10, 
take another thread, bind off the re- 
maining stitches. Knit the 10 stitches 
for 4 rows. Decrease beginning and 
end of each needle, until there are 4 
stitches on needle. Bind off and sew 
up seam. With blue yarn crochet 
3 chain, 1 single around top of legging. 
Infanfs Knitted Bootees (Figure 266) . 

Material — 2 Skeins White Wool, 1 Skein Pink or Blue, 1 
Pair Knitting Needles No. 16. 




Fig. 265. 
A doll's legging 



364 




NEEDLECRAFT 

1st row — Cast on 53 
stitches in coloured wool. 

2nd row — Knit plain 
to the end of row. 

3rd row — Slip 1, make 
1, knit 25, make 1, knit 1, 
make 1, knit 25, make 1, 
knit 1. 

4th row — Knit plain 
to the end of row. 

5 th row — Slip 1, make 
1, knit 27, make 1, knit 1, 
make 1, knit 1, knit 27, 
make 1, knit 1. 

6th row — Knit plain 
to end of row. 

7th row — Slip 4, make 
1, knit 29, make 1, knit 1, 
make 1, knit 29, make 1, 

knit 1. 

8th row — Knit plain 

to the end of row. 

9th row — Slip 1, make 
1, knit 31, make 1, knit 1, 
make 1, knit 31, make 1, 
knit 1. 



Fig. 266 



NEEDLECRAFT 865 

10th row — Knit plain to end of row. 

11th row — SHp 1, knit 33, make 1, knit 1, make 1, 
knit 34. 

12th row — Knit plain to end of row. 

13th row — Slip 1, knit 34, make 1, knit 1, make 1, 
knit 35. 

14th row — Knit plain to end of row. 

15th row — Slip 1, knit 35, make 1, knit 1, make 1, 
knit 36. 

16th row — Knit plain to end of row. 

You must now have 75 stitches on your needle. 
Knit now 8 plain rows then knit 43 stitches, now 
knit 2 together. Turn your needles and continue 
this until you have 25 stitches on each side of needle. 
You must now tie on the white wool then knit 12 
plain, then knit 2 together as above, you are begin- 
ning now to make the part that forms the little sock. 
Knit 2 together 7 times, turn your needle, knit 1, 
pick up the stitch that you will see between the two 
stitches that you have knitted, two together, 
next row knit plain. Next row purl 1, then you have 
four rows complete. Commence 2 together again 
7 times continue this until you have 5 pattern rows. 

Always remember to take 2 stitches together after 
you have knitted the 12 stitches. There should 
be 14 stitches on each side needle. Tie on the 



366 NEEDLECRAFT 

coloured wool again and knit plain to end. Knit 
1 row plain then make 1, knit 2 together to the end 
of row. Then make 1, pick up the stitch already 
explained. Tie on white wool, knit 1 row plain. 
Begin the pattern again by knitting 2 together. 
Remember you must always begin a row on the 
right side of the bootee. Do 7 rows of the pattern, 
then 12 rows ribbed. Rib is to knit 2 plain rows 
and purl 2 rows. After knitting 12 rows cast off on 
the right side and sew the bootee up neatly at the 
back and run some ribbon in to finish it off. 
A warm hood for the baby (Figure 267). * 

This hood requires an ounce and a half of Shetland 
wool and one pair of fine bone needles No. 7. 

Cast on 21 stitches, knit 6 rows or three ridges 
plain. 

Second row — Knit one * wool over needle twice, 
knit 2 together, repeat from *. 

Knit 3 more rows plain. Cast on 21 stitches at 
one end and knit back and cast on 20 more at the 
other. Knit on these 62 stitches that are on the 
needle for 30 more rows. Now start a new pattern 
by knitting 1 for the edge * wool over, slip the next 
stitch on the right-hand needle, knit the next two, 
pass the slipped stitches over these two. Note the 
two loops remain on the right-hand needle and the 



NEEDLECRAFT 367 

wool cast over. There knit from * to the end of 
row, knitting last stitch plain, purl back. Repeat 
these £ rows 20 times. Cast oflF the 20 and 21 




Fig. 267. A knitted hood 

stitches at the end. Knit on the original 21 stitches 
for 30 rows. 

Next row — Knit 1 * wool across the needle 
twice, knit 2 together, repeat from *. 

Knit 6 rows. 

Cast oflf. 

Your knitting is now finished and somewhat 



368 



NEEDLECRAFT 



X 



in the shape of a cross. Join the X's to the X's on 
the wrong side. Sew right up to the corner. 

Join the dashes to the dashes, the O's to the O's, the 
diamonds to the diamonds inhke manner (Figure 268). 
You will have a piece of knitting that looks like 
a box cover. Turn it so the wrong side is in the 
right position. Fold the backs over the other so 
that the 2 rows of holes correspond. Sew along the 

bottom edge. 

Turn back a 
little corner from 
< the plain knitting 
and sew it down. 

Run a ribbon 
through the holes 
and tie in a bow 
in front. 

Knitted Vest for 
, Baby. 



Fig. 268. Diagram of hood 



Materials required, 10 oz. of Shetland Wool, a pair of Bone 

Knitting Needles No. 12 and 2 yds. of Ribbon, 

Cast on 140 stitches. 
1st row — Knit plain. 

2nd row — Knit 2 purl 2 all the way across. 
Continue knitting 2 and 2 ribs for 5 inches. 

To form the armholes work backward and for- 



NEEDLECRAFT 369 

ward on the 1st 40 stitches for two and three quarter 
inches. Cast off all but 12 stitches for the shoulder 
strap. Work 12 rows on these 12 stitches and cast off. 

For back — Continue from where you divide it 
for the armhole for 60 stitches leaving 40 for the 
second front. 

Work two and a quarter inches on the 60 stitches. 
Cast off. Make second front the same as first. 
Sew up on shoulders. 

A pretty little crochet edge around the neck and 
armhole will complete this comfortable little vest. 
f A simple crochet edge is made by working one 
double crochet, * 4 chain, 1 double crochet in first 
chain, miss 2 stitches, 1 double crochet, repeat from * 
sew the two small pieces of ribbon that have been 
cut in half to the vest. Tie in a bow. The bows 
hold the little garment together. 
Pine Pattern Lace, 

Cast on 28 stitches and knit across plain. 

1st row — Slip 1, knit 2 together, make 2, knit 2 
together, knit 10, knit 2 together, make 2, knit 2 
together, knit 1, make 2, knit 2 together, make 4 
(thread four times round needle) knit 2 together, 
knit 2 together, make 2, knit 2 together. 

2nd row — Knit plain, but work twice (knit 1 
and purl 1) in each of these make 2 loops. In the 



370 NEEDLECRAFT 

2nd row work 6 times (knit 1, purl 1, knit 1, purl 1, 
knit 1, purl 1,) all in the 4 made stitches. 

3rd row — Slip 1, knit 2 together, * make 2, knit 2 
together, knit 2, knit 2 together, make 2, knit 2 
together; repeat from * once, knit 2, make 2, decrease 
2 (by working slip 1, knit 2 together, draw the 
slipped stitch over), knit 5, decrease 2, make 2, 
knit 2 together. 

4th row — The same as second row. 

5th row — Slip 1, * knit 2 together, make 2, knit 2 
together, knit 1, repeat from * three times, knit 2, 
make 2, decrease 2, knit 3, decrease 2, make 2, 
knit 2 together. 

6th row — The same as second row. 

7th row — Slip 1, knit 2 together, make 2, knit 2 
together, knit 2, knit 2 together, make 2, decrease 2, 
make 2, knit 2 together, knit 2, knit 2 together, 
make 2, knit 2 together, knit 4, make 2, knit 2 to- 
gether, knit 2 together, draw the first two together; 
stitch over the second thus decreasing again, de- 
crease 2, make 2, knit 2 together. 

8th row — The same as second row. 

9th row — Slip 1, knit 2 together, make 2, knit 2 
together, knit 4, knit 2 together, knit 5, knit 2 to- 
gether, make 2, knit 2 together, knit 6, make 2, 
decrease 2, make 2, knit 2 together. 



NEEDLECRAFT 371 

10th row — Knit 2 together, drop the second loop 
of the *'make 2," knit 1, draw the first stitch on the 
right-hand needle over the knitted one, thus decreas- 
ing again; knit 1, purl 1, knit 8, purl 1, knit 13, purl 
1, knit 2. Repeat from first row. 



XXXII 

EMBROIDERY SUQGESTIONS FOR BOARDING 
SCHOOL GIRL 

A GIRL who has to make a home of her 
boarding school should try and make her 
room and little personal articles as at- 
tractive as possible. Her room is her citadel where 
only her bosom friends and cronies meet. One 
likes to feel when they enter their room that it is 
a place where everything is hers and every object 
in sight means something to her. 

A girl might not like to embroider, yet there are 
hundreds of things that can be done without any 
needlework decoration, such as stencilling, cut 
leather or simple appliqu6. It always amused me 
to hear a girl say, "I don't like to embroider." 
I always feel like asking her, if we are acquainted, 
if she knows how to embroider. You will find that 
in nine cases out of ten she does not. Em- 
broidery is like anything else, you have got to know 
it to like it. It may be you prefer one branch to 
others. Some branches of this work may be tedious 

372 



NEEDLECRAFT 373 

to you but when you stop and think what simple 
things are classed under embroidery you will find 
that you have a wide field from which to select. 

It is not my object to go into details in regard 
to stitchery in this chapter but rather to give you 
some helpful suggestions in regard to knowing what 
to make and what colours to use. The stitches 
to be used are fully described in the previous 
chapters. 

The first thing to consider is, are you going to have 
a bedstead or a couch in your room.^^ Make it the 
latter unless you have a broad window seat that you 
can heap up with pillows. No room at a boarding 
school or college is complete without a half a dozen 
pretty pillows. When the chairs give out you can 
use the cushions, Japanese fashion, on the floor. 
Some girls like to carry their whole room out in 
cretonne, which is very pretty and dainty if you can 
afford it. Cretonne covers last about a year and 
then they get faded and dusty, while a linen back- 
ground embroidered will last for many years. It may 
need laundering but it will stand any amount of that. 
If the embroidery fades a little that also is no draw- 
back as it takes the effect of newness from the room. 
A room ought to look as if people lived in it and 
enjoyed it and not as if it were an exhibition room 



374 NEEDLECRAFT 

in some department store. Don't think I am trying 
to encourage untidiness but let the things be used 
and enjoyed. 

When I was about your age for several weeks 
I spent my spare time embroidering a centre piece 
for my auntie's dining room table taking care to 
get just the right colours that would look well with 
her every day china. It nearly broke my heart 
when it was finished to have her use it only for state 
occasions. If my cousins do not use it any more 
than auntie did it will last for hundreds of years, 
or be thrown into the rag bag by the next genera- 
tions if they don't like it. Enjoy all the pretty 
things that you possess if they are appropriate for 
the use you intend them for. 

Have you ever heard the story of the little dirty 
boy of the slums who was given a new white tie 
by his teacher .f^ He had first to wash his hands before 
he touched it and then he washed himself to wear it 
and asked his mother for a clean shirt so that every- 
thing would go with the tie? Do you know that if 
you have one beautiful thing in your room of 
which you are very proud you too will see that all 
the things around it set oflF its beauty? 

For the girl who has a window seat in a room and 
wants to keep her room dainty and bright there is 



NEEDLECRAFT 375 

nothing as pretty as the lingerie pillow. It may be 
made of heavy white linen or lawn as you desire 
and can be oblong, round or square. The cushion is 
covered in any colour that you prefer and the white 
top embroidered with large eyelets, Roman cut 
work, Hardanger or drawn work so that the colour 
will appear through the openings. Some of the 
handsomest imported pillows have motifs of real 
Filet, Irish Crochet or Cluny lace. These motifs 
are very expensive and not really necessary. The 
back and front of the linen cover are scalloped on 
the edges and half an inch above this scalloping a 
row of large eyelets is worked at intervals. The 
back and front are laced together with ribbons the 
same shade as the coloured covering. For a pink 
and blue room the cushion can be covered with 
pink and the lingerie slip laced with blue. For a 
square pillow plan the design on a square and ar- 
range one in each corner and one in the direct centre. 

These slips will require frequent laundering. 

The lithographed pillow is a thing to be avoided 
by a girl of refined taste. You would not hang 
lithograph posters in your bedroom so why feel that 
it is all right to buy a lithograph pillow.^ 

The chief point to remember in getting little 
accessories for your room is to keep the colouring 



376 NEEDLECRAFT 

as harmonious as possible. Avoid getting the 
popular things of to-day which are apt to be an 
eyesore to you to-morrow. 

Do not decide quickly to carry out your room in 
school colours, there will probably be a dozen of the 
girls who will do this very thing and you will be 
tired of it before your course is through. A frater- 
nity pillow is to be expected as there are dozens of 
ways that it may be treated and look quite different 
from the other girls' pillows. 

The general way in which a school or fraternity 
pillow is made is to cut out of felt the letters, figures 
and any design that is to be placed on it. The 
background may be broadcloth, ladies' cloth or 
felt. Use one of the school or fraternity colours 
for the applique and the other for the background. 

One of the handsomest fraternity pillows I ever 
saw, was one belonging to a Hamilton College 
man. Hamilton's colours are buff and bright deep 
blue. The fraternity's colours were black and 
gold. A handsome piece of Hamilton blue broad- 
cloth was selected for the background. The frater- 
nity pin was reproduced in colour in fine filo silk. 
The gold silk was a perfect match to the gold in the 
pin. Even the background of the pin, which was 
black enamel, was represented by very fine Ken- 



NEEDLECRAFT 377 

sington stitches. The rope-like edge of the pin was 
reproduced on the pillow by little rope-like sections 
heavily padded and worked in gold silk. On the 
back of the pillow were his initial aind his class year 
below. No beruffled ribbons or gaudy cord de- 
tracted from its richness. It was a square cushion 
and its only finish was a large button in each corner 
where the end was gathered and tucked in to give 
a round eflfect. 

The school girl of to-day is learning to eliminate 
the unnecessary trumpery things that cheapen the 
room and serve as dust gatherers. Outside of 
the pillow, bed or table covers and an occasional 
bag for fancy work, laundry or gloves there is no 
ornate display of handwork. Even the walls are 
left bare with the exception of a framed print or a 
few family photographs. 

Try if possible and see if you can get a plain paper 
for your wall. More than one really charming room 
is spoiled by having an atrocious paper on it. It 
is really impossible to try to be artistic with an 
ugly wall paper. 

Since stencilling has become so popular, it is not 
an uncommon thing to have the entire room sten- 
cilled. 

Suppose you had planned to have your room in 



378 NEEDLECRAFT 

lilac, green and light gray. White can be substi- 
tuted for the gray but it soils more readily than the 
latter. The floor should be polished and a couple 
of small rugs or one larger one be used on the floor. 
The lilac shade should predominate in the rug. 
The covers should be of the gray or white with a 
stencilled design in green and lilac. A pretty way 
to treat the pillow is to get inexpensive lilac material 
of a coarse texture. Cut a square about fourteen 
or fifteen inches. Cut four strips of white or gray 
five inches wide by twenty -five inches long. These 
strips should be finer than the lilac or of a different 
weave. Baste one strip on each side of the lilac 
square. Mitre the strips at the corners. A design 
is then stencilled on the four strips in lilac and 
green. The backing of the pillow should be in 
plain lilac. 

If preferred a striped lilac and white piece of 
material can be used for the centre and back. 

For the girl who is fond of initials or monograms 
I would suggest that the cover be hemstitched and 
a wreath selected in different sizes appropriate to 
the article on which it is to be used. These wreaths 
can be carried out in colour or the background may 
be coloured and the wreaths white. Inside of the 
wreath work your monogram or initial. If you 



NEEDLECRAFT 379 

desire a Dutch room, carry out this scheme in Delft 
blue material and have a dark set of Mission 
furniture. 

Nile green linen with wreaths of conventionalized 
rosebuds or daisies, worked in shades of pink, or 
white and yellow, suggests a French room, with a 
brass bedstead. As I have stated in the chapter 
on initials, the stem stitch is pretty for working 
single lines of a design that is carried out in satin- 
stitch. 

Stem stitch is too slow a method however to em- 
broider school linens, and I would suggest using a 
substitute that has the effect and yet does not 
require the time. A row of outlining is made, and 
then turn the work back in the same manner, this 
time instead of working through the material, catch 
the places where the two successive stitches of the 
first row overlap (Figure 269.) 

Another wrinkle you might be glad to hear of 
and possibly want to put in practice is how to clean 
a daintily embroidered piece without washing it, 
such as a pincushion or pillow top. School is not 
like home where you can be sure a piece sent to 
the laundry will have proper attention. Another 
drawback is that all extras have to be well paid 
for. If the piece is thickly covered with white 



380 NEEDLECRAFT 

talcum powder and allowed to stand without dis- 
turbing it for forty-eight hours, the embroidery 
will emerge almost as clean as if it had been 
laundered. 

Now then there are the curtains for your room. 
You may be fortunate enough to have a room with 
dainty dotted Swiss or dimity curtains that will 
go very nicely with the things you are planning and 




Fig. 269. A substitute for stem stitch 

then again you may be inflicted with a pair of cheap 
imitation lace curtains. If you can possibly aflPord 
it change them as soon as possible. Personally I 
would rather have no curtains than the wrong ones. 
Dimity, dotted swiss, scrim, plain net or grass 
linen are materials that are inexpensive as well as 
artistic. Of course you can make them as fancy as 
you wish. Any of the above mentioned materials 
can be stencilled. Rick-rack braid, which is a wavy 
braid, can be used to edge the net curtains or a 
Connemara lace design is also appropriate. 



NEEDLECRAFT 381 

A narrow crochet edge can be used on the edge 
of the scrim curtains or a narrow border of drawn 
work can be used. 

Shadow work is effective on dimity or dotted 
Swiss curtains. Another pretty stitch very similar 
to the shadow stitch is the skeleton stitch. In- 
stead of the work being on the wrong side it all 
appears on the right. Work a row of very fine 
running stitches on the right side. Fagot stitch 
from side to side catching the thread into the run- 
ning stitches. The work is done from the centre 
of the flower to the tip of the petal. Do not end 
your thread but weave over and under the fagotting 
stitch to the end of the petal, leaf or space on which 
you are working. 

The curtains may be sash lengths or may be the 
full length of the window but do not make them 
longer than to reach the sill. 



THE COUNTRY LITE PRESS, GARDEN CITY, N. Y. 



JUl « 



1911 



ELECTRICITY AND 
ITS EVERYDAY USES 






f^EBDLECUA^ 
}ME DECORATION 

iD WOODWOl 






m 



OUTDOOR SPOILS 



iz^' 






y 









ELECTRICITY AND 
JTS EVERYDAY USES 



P^TDOOR 




^Ol^i 



^EEDLECjRAFfl 



m DECOR Atl^ 
^-IDWOODWOl 



n^^^ 



IM 



f^ML. 



OUTDOOR SpS^S 







'\ 










rjJJ[^CHANlcS 
^Oi^S AND OUfj 



^^^^ 



Stv^^ 




' 



Wl 



33S 




■^ 



